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STRANGE DAYS: SF Mind-Tech Thriller 


30 years of 
SF fantasy 

9 Captains' loves 



The saga returns 

E xplosive TV action 


H stellar collection oF rare STAR TREK memorabilia, 

Have you ever wished you could talk to Bene 
Roddenberry? (low you've yot the chance. 

Just take a seat 

in the captain's 


joins you on- 

screen For an interactive, Quicktime" 

interview. He'll reveal the answers tu a 

yalaxy oF intriguing questions as he shares 
his vision and his genius. This up close 
and personal interview, never heFore 
been seen in the U.S., is a must For all 
serioos collectors! 

Leonard nimoy hosts this multimedia 
Collector's Editioo and narrates the Full- 
motion video making oF BTHR TREK: 


Judgment Rites." This behind-the-scenes 
look oFFers a unique and Fascinating 
opportunity to witness the evolution oF 
this epic CD-RDm adventure game. 

In addition, sitting in Spock's chair will 
activate an all new interview, also 
previously unseen in the 11.5. Using an 
interactive Format, gou ask all the ques- 

tions and Leonard 




nimoy has all the 
ao5wers...just as 
you'd expect From 

the venerable Vulcan. 

The Five year mission continues with eight 
STRR TREKdudgment Rites episodes. This 
time you are in command. But, there is one 
problem — you are being watched. By 
whom and by what gou 

do not know. 

Even Spock can not accurately process 
these strange occurrences. Is that truly 

an ancient uTuTl tnplane 


heading straight For you 

at Ularp B speed? Cuuld it be Trelane? 
How could yuur sensors suddenly report 
life Forms on a dead planet? Ulhere did 
that primitive race yet such advanced 
technology? It couldn't be Br. Bredell 
and the Vardaines...or coold it? 

Game play is enhanced with 2 CD-Rams 
Full oF dramatic, highly-rendered cinematic 
sequences and the actual voices oF the 
entire, original STBR TREK crew. Brilliant 3B 
explosions, convincing deep space encoun- 

»<u-ir i lc «i ;-li Till! : ii i r - ; i •: |i 


Beam up to Interplay's out oF this uuorld Ulebsite at 

STAR TREK™ ond © 1995 Paramount Pictures. All Rights Reserved. 
STAR TREK and related Marks are trademarks of Paramount Pictures. Software Code © 1995 Interplay Productions. All Rights Reserved. 

d g m e n 


packageduiitti a spectacular CD-ROHI adventure game. 

n e m r tic 

oF the EntEr prise 1 " computer all create an 
out-nf-this-world gaming experience. Ulhen 
you hear the legendary Captain Kirk'", the 
wit and wisdom oF IHr. Spock'" and the irre- 
pressible personalities oF mcCey™. 

Scntty™. Sulu™. Checknv™ and Uhura T ", 

you'll suear you've been beamed into the 
continuation oF the original Five-gear mission. 

9TRR TREK: Judgment Rites Limited 

Collector's Edition is a multimedia treasore 

For any STRR TREK Fan or adventure game 

enthusiast. In addition 

to the Roddenberry and 
Dimog interviews and 

host oF other rare or 

unseen memorabilia. 

we've included a cnpg 

oF the most popular episode oF the STRR 

TREK TV series, "City oo the Edge oF 

Forever," co-starriny Joan Collins. 

And. as ao extra bonus, you'll get one 
oF our eight original STRR TREK: 

If ¥ 

cloisonne pins. These bold and colorFul 

pins are custom designed 
and produced, in a limited run. 


exclusively For the Collector's 
Edition. Sou won't Find them 

anywhere else! 

STRR TREK: Judgment Rites 

Limited Collector's Edition 

is more than a onique and original 
multimedia presentation — it is a part 
oF the continuing legacy From the greatest 
epic adventure oF our liFetime. Dnn't 
miss your chance to owo a piece oF 
STRR TREK history! 

f mMML 



Actual design of cloisonne pin may vary. 

ffr/r/a r/tEK 














STARLOG: The Science Fiction Uni- ' 
verse is published monthly by STAR- 
LOG GROUP, INC., 475 Park Avenue ' 
South, New York, NY 10016. STAR- | 
LOG and The Science Fiction Uni- 
erse are registered trademarks of Starlog 
Group, Inc. (ISSN 0191-4626) (Canadian GST 
number: R-1247048261 This is issue Number 
220, November 1995. Content is © Copyright 
1995 by STARLOG GROUP, INC. All rights 
reserved. Reprint or reproduction in part or 
in whole without the publishers' written per- 
mission is strictly forbidden. STARLOG accepts 
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if necessary, returned. STARLOG does not pub- 
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61054-0132. Printed in US.A. 



Sorry. In many ways, time has 
simply run out for Earth 


Kathryn Bigelow plugs in as 
the millennium unfolds 


The Calactica fleet cruises 
back into four-color 


war begins as these young 
pilots fly above & beyo 


Seriously, video villain 
be quite a deadly matter 


The Emmy-winning actress 
recalls her SF adventures 


Jennifer Hetrick enjoyed her 
days on the Enterprise 


Years ago, Terry Moore 
befriended Mighty Joe Young 


It's 30 years since the 
Robinsons got Lost in 


Rob Bowman helps 
add an eerie tou 
The X-Files 

Juliette Lewis chants 
as humanity 
experiences Strange 
Days (see page 32). 




isney World 




The Invaders are returning at last. Fox, 
which has had some success with UFO/ 
alien-themed material, is currently in pro- 
duction on the long-awaited mini-series 
update of the classic show created by Larry 
Cohen and produced by Quinn Martin 
(STARLOG #206-7). James Parriott. respon- 
sible for Forever Knight, scripted. Paul 
Shapiro directs. 

Quantum Leap's Scott Bakula stars. The 
cast also includes Richard Thomas, Eliza- 
beth Pena and, most importantly of all. Roy 
Thinnes (who, as David Vincent in the origi- 
nal show, waged an endless fight to warn the 

It's Peter Weller and his troopers vs. the 
metallic piranhas known as Screamers in 
the new genre film opening this month. 

world of the aliens' arrival). The project is 
tentatively slated to air on Fox next month. 

Updates: Although director Richard 
(Hardware) Stanley developed the new film 
version of The Island of Dr. Moreau, New 
Line Cinema dropped him from the H.G. 
Wells adaptation after only a few days of 
shooting. At presstime, New Line had hired a 
new helmsman, John (Seconds) Franken- 

Only the pilot movie for Space: Above & 
Beyond lensed in Australia. The series is 
shooting in California (see page 40). 

Fantasy Films: John Hughes will write, 
produce and direct a live-action film version 
of J.M. Barrie's Peter Pan. It'll be a co- 
production of TriStar (which did Hook) and 
Disney (responsible, of course, for the ani- 
mated Peter Pan). He's also writing and pro- 
ducing the live-action 101 Dalmatians and 
preparing an updated take on The Absent- 
Minded Professor. 

TriStar and Disney are also teaming on 
Starship Troopers, the eagerly awaited adap- 
tation of Robert Heinlein's novel being made 
by the RoboCop team: director Paul Verhoe- 
ven, writer Ed Neumeier (who co-wrote 
Robo with Michael Miner) and producer Jon 
Davison (who'll co-produce with Alan Mar- 

Following in the footsteps of Who 
Framed Roger Rabbit, commercial co-stars 
Bugs Bunny and Michael Jordan reteam in 
the currently filming Space Jam (a.k.a. Hare 
Time). It pits Jordan, Bugs and the Looney 
Tunes characters against alien baddies. Com- 
mercial director Joe Pytka is at the helm with 
a screenplay by Steve Rudnick & Leo Ben- 
venuti (the duo who scripted The Santa 
Clause) and Timothy Harris & Herschel 
Weingrod (the pair who scripted Trading 
Places and Kindergarten Cop). 

Brent Spiner, Judd Hirsch, Randy Quaid, 
Harvey Fierstein, Robert Loggia, Harry Con- 
nick Jr., Margaret Colin and Mary McDon- 
nell will be coping with the alien invasion 
which arrives on Independence Day. 

Genre TV: Celebrating Lost in Space's 
30th anniversary, the Sci-Fi Channel pre- 
sents The Fantasy Worlds of Irwin Allen, pre- 
miering September 30. June Lockhart, Bill 
Mumy and the Robot host the two- 
hour special, engineered by STAR- 
LOG's Mike "Clark, an Allen 

ShatterWorld, the potential SF- 
TV series examined in STARLOG 
#205, is edging closer to produc- 
tion. It's now being developed by 
Mortal Kombat producer Larry 
Kasanoff's Threshold Entertain- 
ment. The key creative personnel 
include writers Sandy Fries, Fred 
Kron and D.C. Fontana, designer 
Rick Sternbach and artist Kelly 

John D' Aquino, a seaQuest reg- 
ular during its first season, reprises 
his role as a guest star this fall. 

Mad TV is scheduled to begin airing this 
month. Saturdays at 11 p.m. on Fox. The 
sketch comedy series, derived from the clas- 
sic Mad Magazine, will use certain celebrat- 
ed Mad features, including Spy vs. Spy. 

The Muppets, meanwhile, will return 
with a brand-new half-hour series akin to the 
classic Muppet Show on ABC. 

Sequels: That Ghost & Mrs. Muir remake 
has finally shanghaied a director: Randa 
(Children of a Lesser God) Haines. Sean 
Connery will play the crusty, ghostly sea 
captain once portrayed by Rex Harrison. 

Looks like Chris Columbus will be the 
man behind the camera on Return to the 
Planet of the Apes. The Monkey Planet's star 
is slated to be Arnold Schwarzenegger. 

It's definite. The long-awaited follow-up 
to 198 1 "s Escape from New York is going to 
happen. Costly deals have been made all 
around, with the film. Escape from LA, being 
positioned as a blockbuster release by Para- 
mount. Of course, it reteams director John 
Carpenter, producer Debra Hill and the 
immortal Snake Plissken. Kurt Russell. 

They haven't given up on those stalking 
Predators yet. It seems Robert Rodriguez, 
fresh from the acclaim given his kinetic Des- 
perado and the vampire thriller From Dusk 
Till Dawn, will write and direct Predator 3. 
This time, man goes to the world of Preda- 
tors. That'll be some hunt. 

— David McDonnell 

NOVEMBER 1995 #220 
Business & Editorial Offices: 

475 Park Avenue South 
New York, NY 10016 



Executive Vice President 


Associate Publisher 


V.P./circulation Director 


Executive Art Director 




Managing Editors 


Special Effects Editor 


Contributing Editors 






Senior Art Director 








West Coast Correspondents 



Financial Director: Joan Baetz 
Marketing Director: Frank M. Rosner 
Circulation Manager: Maria Damiani 
Typesetters: Jean E. Krevor, AM Lemer 
Staff: kim Lampariello, Debbie Irwin, Dee Erwine, 
katharine Repole, Jose Soto, Michael Updegraff, Jen- 
nifer Leahy. 

Correspondents: (West Coast) kyle Counts, Bill 
Florence, Pat Janklewicz, Jean-Marc & Randy Loffici- 
er; (NY) David Hirsch, Michael MCAvennie, Joe Naz- 
zaro, lan Spelling, Steve Swires, Dan Yakir; (Chicago) 
Jean Airey, kim Howard Johnson; (Boston) Will Mur- 
ray; (VA) Lynne Stephens; (NM) Craig Chrissinger; (FU 
Bill Wilson; (WV) John Sayers; (Canada) Peter Bloch- 
Hansen, Mark Phillips; (England) Stan Nlcholls; (Inter) 
George kochell, Michael Wolff; (Cartoon) kevin 
Brockschmidt, Bob Muleady; (Booklog) Scott W. 
Schumack; (CCorner) Mike Wright. 
Contributors: John Antosiewicz, Barbara Babcock, 
Rob Bowman, Susan Ciccone, Robert Douglas, 
Robert & Wanda Duncan, Terry Erdmann, Frank Gar- 
cia, Herman Groves, Robert Hamner, Matt Hawkins, 
Jennifer Hetrick, John S. Hall, Penny kenny, Rob 
Liefeld, Glen Morgan, Terry Moore, Juanne Michaud, 
Leonard Nimoy, Tom Phillips, W.C Pope, Seymour 
Robbie, Shannon Ryan, Ezra Stone, Patty Triplett, 
Jack Turley, Guy Vardaman, John Vester, Jeff Walker, 
Sharon Williams, Shimon Wincelberg, James Wong 
Cover Photos: X-Files & Space: Copyright 1995 20th 
Century Fox Television. 

For Advertising Information: 

(212) 689-2830. FAX (212) 889-7933 

Advertising Director: Rita Eisenstein 

Classified Ads Manager: Tim Clark 

For Advertising Sales: The Faust Company, 

24050 Madison St. Suite 101 , Torrance, CA 90505 

(310) 373-9604, (310) 373-8760. Attn: Dick Faust 

STARLOG/November 1995 


The Quest 
For Iscandar 

Each of these Collector's Editions contains 

13 volumes. An entire animated 

adventure, with nothing cut. Duplicated in 

real-time from new masters • The story 

of the Star Blazers, from beginning to 

end • Three complete but continuing series 

of science fiction adventures in outer 

space • Legendary animation that 
broke barriers and inspired imitators. 

Reproduced for English speaking 
audiences with U.S. actors • From the 
ground breaking Japanese animation 
movies and television programs. Each 
story complete • Including the "lost" Bolar 
Wars episodes rarely seen on U.S. televi- 
sion because of limited distribution. 
gift boxed Collector's Editions are 
available by mail only. 

Star Blazers ® is a registered trademark of 
Jupiter Films, Inc., used by permission. 

The Comet Empire 

The Bolar 


EACH 6-PACK $159.95/plus $5.95 shipping & handling 

SERIES 1 [ ] SERIES 2 [ ] SERIES 3 [ ] 

AL L TH REE SERIES $44 9.95 + $ 9.95 shipping & handling 

Pay by check, money order or QVisa □ Mastercard PAmex 

ACQ. No. 

EXP. (mo/year) 


City . 

call toll free: 

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Ask for 

No Canadion/foreign • Please allow 2 to 4 weeks for delivery. _ . _ 

Mail order and payment: Wcpi OO 

Voyager Entertainment,lnc. P.O. Box 44290 Pittsburgh, PA 15205 


Originally created by Joe Oriolo in the 
early 1940s, Casper was supposed to be 
a children's book, but when the unpublished 
manuscript was submitted to Famous Stu- 
dios at Paramount, it became an animated 
short with story and adaptation by Bill 
Turner and Otto Messmer. In 1949, Casper 
segued to comic books. Now, courtesy of 
the latest advances in digital technology, 
there's Casper, the live-action feature film 
starring Christina Ricci and Bill Pullman 
from Amblin Entertainment. Casper debuts 
on sell-through priced videocassette 
($22.98) and laser ($34.98) this month. The 
ghostly characters were created by the digi- 
tal wizards of George Lucas' Industrial 
Light & Magic, and take the technology cre- 
ated for Roger Rabbit almost a decade ago 
into a whole new dimension. The laserdisc 
features full widescreen and digital sur- 
round stereo sound. 

20th Century Fox Home Entertainment 
(formerly Fox Video) has struck new edi- 
tions of the Star Wars trilogy (all three 
movies are now available separately for 
S59.98 each) in CLV and widescreen. These 
new pressings were struck from the same 





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line and need your yug^eytiony to 
make it really bit asarp nine. 

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ideay about bom to make tbl? the 
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- U?t w help you find contention? 
m your area. 

- Amazing biograpbiey gli/en about 
your favorite actor?. 

- Piycouer fact? you might not 
baue krxxun about pan. preyent. 
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IDuyt be 18 yeary old to call. 

The call iy 2.49 per minute 

Aug. call 4 min. fli>g call coyt 1996 

P.O. Box 740263 

flruada. TO 80006-0263. 

303-423-9627 TOLfly IfX. 

transfers used for the big, THX CAV boxed 
set, but you don't get the specially-pro- 
duced extras. Instead, a three-part interview 
with Lucas by film critic Leonard Maltin 
will appear as an eight-minute segment with 
each of the three films. A VHS gift box set 
of the trilogy is priced at $49.98, but you 
can also buy them individually. This release 
marks the first time that THX mastering has 
been used on a VHS program. The three 
films will be withdrawn from circulation 
early next year, after which Lucas has 
announced plans to replace certain scenes in 
Star Wars with new digital special FX. It's 
expected that this enhanced version will run 
theatrically 1997, and then hit home video 
around Christmas. 

Television: Eight installments of The 
Outer Limits have been re-issued by 
MGM/UA Home Video. But now they're 
cheaper! Priced at a low $9.98 each in VHS, 
are: "The Architects of Fear." "Demon With 
a Glass Hand," "The Galaxy Being," "The 
Man With the Power," "The Man Who Was 
Never Born," "The Sixth Finger," "Speci- 
men: Unknown" and "The Zanti Misfits." 

Beam aboard the Enterprise with four 
newly released ST.TNG adventures from 
Paramount Home Video. Ambassador 
Sarek's visit provides a poignantly emotion- 
al moment in "Sarek"; Troi and her mother 
Lwaxana are kidnapped by the Ferengi in 
"Menage a Troi"; in "Transfigurations" the 
crew rescues a mysterious humanoid with 
remarkable powers: the Borg kidnap Picard in 
"The Best of Both Worlds, Part I" and trans- 
form him into their new spokesBorg, Locutus. 

Jonathan Frakes hosts a tour of the 
Enterprise and peeks backstage for Jour- 
ney's End: The Saga of Star Trek: The Next 
Generation, a TV-documentary now avail- 
able on VHS and Beta ($14.95) from Para- 

Fifteen of the best episodes from TV's 
most popular anthology, The Twilight Zone, 
created and hosted by Rod Serling, have 
been collected in a giant boxed set from 
CBS/Fox Video ($99.95). 

Besides helming Star Trek II, director 
Nicholas Meyer is known for creating one 

of the most controversial TV movies ever: 
The Day After. It's the story of struggle for 
survival in small town America after the 
unthinkable happens — America is devastat- 
ed by nuclear missiles. Day's all-star cast 
includes Jason Robards, JoBeth Williams, 
Steve Guttenberg, John Cullum, John Lith- 
gow, Bibi Besch and Jeff East. A new laser- 
pressing from Image Entertainment 
($49.95) includes an audio commentary by 
Meyer on the analog track. 

Four more episodes of TV's Beauty & 
the Beast starring Linda Hamilton and Ron 
Perlman have been released by Republic 
Entertainment on videocassette priced at 
$14.98 each in VHS. Look for: "China 
Moon," "The Alchemist." "Temptation" 
and "Promises of Someday." 

Right Stuf International is the domestic 
distributor for The Stranger series from 
Britain, which has been billed as the succes- 
sor to Doctor Who. Perhaps this is because 
the lead character. Soloman, is played by 
former Time Lord Colin Baker. Soloman. 
Egan (David Troughton) and Saul (John 
Wadmore) are Preceptors, creatures from 
the Dimensional Web who have taken phys- 
ical form to carry out acts of indiscriminate 
terrorism in this universe. Soloman has seen 
the error of his ways; Egan, however, 
believes Soloman has reformed only as a 
result of indoctrination by their enemies, the 

The latest chapter, "Eye of the Behold- 
er," goes on sale this month in VHS only 
($24.99), but beware: This is only part one. 
Other episodes of The Stranger currently 
available include: "In Memory Alone," 
"The Terror Game" and "Breach of the 

Laserdisc: The recently released Robert 
Wise classic, The Day the Earth Stood Still 
exists in two editions: a fantastically over- 
priced deluxe box set ($149.95) and a very 
nice gatefold album edition with lots of 
extra goodies ($69.95). The extra 80 bucks 
only nets you a paperback book on Wise's 
career, a CD of composer Herrmann's 
stereo score for the film and Wise's auto- 
(continued on page 65) 

8 STAKLOG/November 1995 

Interstellar Adventure at its grittiest and most realistic! 

Four issues, chronicling the third season of 

DEEP SPACE NINE, the on-going STAR TREK saga! 

Action-packed with interviews, both with stars and the 

behind-the-scenes creators, writers, designers and 

directors. Complete episode synopses, plus giant- 

S^agfc^ size foldout pinups. Dozens of color 

photos, 68 pages! 




of the First 



Seasons in 





Premiere issue — 
Gold cover! Interviews: 
Co-creator Rick Berman, makeup 
wizard Michael Westmore, director 
David Carson. "Emissary" synopsis. 
Posters: Colm Meaney, Avery 
Brooks, Siddig El Fadil, the cast. 


Interviews: Brooks, Nana Visitor, 
Terry Farrell, Armin Shimerman, 
El Fadil. Posters: Farrell, Rene 
Auberjonois, Visitor, Armin 
Shimerman. $7 

Interviews: Co-creator Michael 
Piller, designer Herman Zimmerman, 
director Paul Lynch. Synopses from 
"Past Prologue" to "Q-Less." $7 


All-synopsis issue, 

completing first season, 

from "Dax" to "In the Hands of the 

Prophets." $7 


Interviews: Meaney, Auberjonois, 

Cirroc Lofton. Four Synopses. 

Posters: Visitor, Farrell, Marc 

Alaimo, El Fadil. $7 


Ferengi Special! Interviews: Max 

Grodenchik, Aron Eisenberg, 

Alaimo. Synopses. Posters: 

Auberjonois, Shimerman, Wallace 

Shawn, Daphne Ashbrook. $7 


All synopsis issue, 

"Rules of Acquisition" to 

"Paradise." Posters: Visitor, 

Auberjonois, El Fadil and 

the cast. $7 


Interviews: Writer Fred 

Rappaport. Synopses. Posters: 

Meaney, Brooks, Farrell, 


Available: July. $7 

> & © 1994 Paramount Pictures. All rights reserved. STAR TREK and related marks are trademarks ot Paramount Pictures. Starlog authorized user. 


Please indicate quantity being ordered. 

3rd Season Subscription $25 

(4 Issues. Note: Issue #9, your first third-season issue, will 

be sent to you in October 1994) 

Back Issues: 

Issue #1 $10 Issue #2 $7 Issue #3 $7 

Issue #4 $7 Issue #5 $7 Issue #6 $7 

Issue #7 $7 Issue #8 $7 


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WRITTEN ORDERS. Please allow 4 to 6 weeks for delivery. 

This StarGate stays 
open a bit too long. 


Now opening on SNES, Genesis, Game 
Boy and Game Gear is StarGate, from 
Acclaim. It's based on the surprise hit film, 
and you are Colonel Jack O'Neil, armed with 
a nuclear bomb to seal off the StarGate por- 
tal. Unfortunate- 
ly, you lost the 
bomb during a 
sandstorm, so 
it's up to you to 
find your men 
and recover it 
before the boy 
king Ra discov- 
ers it and makes 
it powerful 
enough to utter- 
ly destroy the 
planet Earth in- 
stead! There's 
also the problem 
of unlocking the 
mystery of the 
StarGate to get 
you back home, 
but hey, focus 
on one problem 
at a time, OK? 
The cart presents more than 30 missions 
for O'Neil to accomplish, first starting in the 
desert, where you find your radio broken, 
your men missing and the bomb nowhere in 
sight. You must first find your soldiers and as 
many supplies as possible, all the while 
dodging desert creatures and Ra's Horus 
guards. Your travels take you to Nagada, 
where you enlist the aid of four village 
Elders. Unfortunately, the "one hand washes 
the other" concept exists even a million light 
years from home, so O'Neil must free them 
from Horus guard tyranny first. Provided you 
enlist the Elders' aid, they'll lead you to the 
catacombs, where keys to Ra's pyramid lie. 
You'll also learn of a rebellion against Ra, 
and how you must save its leader, Sha'uri. 
from the god's general, Anubis. 

Of course, victory is fleeting, especially 
when you also have to fight off more guards 
and scarabs while trying to find Skaara, a 
young boy who's crucial to both the rebellion 
and to finding the bomb. Then, it's through 
secret cellars and slave mines to get back to 
Nagada, where Sha'uri has gone into hiding. 
Once you make your way through various 
flying menaces, you must search for Daniel 
Jackson and Skaara (Sheesh, doesn't anyone 
know how to stay put?), then destroy traitors 
to the rebellion in a desert glider. Of course, 
upon finding Daniel, you'll discover Sha'uri 
has been abducted by Anubis. 

By now, you've probably got the gist of 
StarGate — basically, find your missing 
allies, accomplish a mission, find your miss- 
ing allies, accomplish another mission, find 
your missing allies, etc. After finding your 

missing allies several times, you can then 
find all the hieroglyphs that will enable you 
to power the StarGate for home and take on 
Ra himself, who — yep, you've guessed it — 
has taken Daniel and Sha'uri prisoner. The 
game's overall objective becomes quite 
tedious because of your allies' penchant for 
getting into trouble, and detracts from a fair- 
ly attractive game (even if much of the play 
resembles Acclaim's Judge Dredd and 
ALIEN 3 carts). While the need to make a 
game that takes players a while to finish is 
important for long-term cart appeal, this 
StarGate might have been more attractive 
had it offered more diversity or been a few 
light-years shorter. 

Adventure Sources: Perhaps the Star- 
Gate folks could have used a second opinion, 
such as another archaeologist. Not just any 
archaeologist, but one who has had his share 
of adventure, and if adventure has a name, it 
must be Indiana Jones. Oh, wait, he's too 
busy at the moment; West End Games has 
him visiting The Tomb of the Templars ($18). 
Actually, this 128-page book — the first 
adventure/source material collection for 
West End's The World of Indiana Jones role- 
playing game — puts Indy through three 
adventures, so, suffice it to say, his schedule 
is definitely packed for the foreseeable future. 

The first adventure — "Tomb of the Tem- 
plars" — is set in pre-World War II Scotland, 
where your characters have been hired by 
British Intelligence to uncover a possible 
Templar treasure horde. Unfortunately, find- 
ing it is only half the problem; seems those 
Templars hid this treasure because of the 
enormous potential for evil it contains — 
especially if it falls into the wrong hands. 


VVV-V- 1 " 

Take a shot with Indiana Jones and the 
Tomb of the Templars. 

There's also this demon, Baphomet, and a 
handful of corrupt Templar knights, just in 
case you think the danger is minimal. 

If you think your second adventure — 
"Indiana Jones and the Druids' Curse" — will 
be any easier, guess again. Nazis and a band 

Smuggle yourself 

a copy of Piatt's Starport Guide. 

of Druids calling themselves the Thames Cir- 
cle have combined forces to destroy several 
British targets, particularly Parliament, and 
it's up to you to stop 'em. From there, pro- 
ceed straight ahead to "Indiana Jones and the 
Sword in the Stone." Those nasty Nazis are 
up to no good in 1936 England, as they seek 
King Arthur's legendary sword, Excalibur. 
There's only one obstacle in their path — you. 
It's a race to find the sword and stick it to the 
bad guys (yes, pun intended), a race which 
the book encourages the gamemaster to fol- 
low in true Indiana Jones fashion. 

Action Maps: Whether you're lost in the 
past, in another dimension or in the future, 
always try to keep your bearings. Both Piatt 
Okeefe and the folks at West End realize this; 
that's why they now offer Piatt's Starport 
Guide ($25), a 164-page supplement for Star 
Wars: The Roleplaying Game. Basically, 
Piatt — a smuggler extraordinaire — has 
compiled a huge datafile to assist fellow 
smugglers, spacers, vagabonds and ne'er-do- 
wells traveling the hyperspace lanes. 

Piatt's datafiles concentrate on seven star- 
ports, including: Port Haven, a tiny, isolated 
settlement and secret smugglers' outpost; 
Kuat, a major port on the way into the Core 
Worlds, and home of the Kuat Drive Yards 
starship-constructing stardocks; the backwa- 
ter haven known as Gelgelar Free Port; 
Omze's Incredible Traveling Starport — part 
wandering spacedock, part intergalactic 
sideshow; Byblos Starport Tower 214, 
among the busiest of starports throughout the 
Colonies; Darknon Station, an ancient deep- 
space station by the Itani Nebula, as well as a 
backwater stop for pirates, smugglers and 
bounty hunters; and Kala'unn, a city on the 
Twi'lek homeworld Ryloth, where courtesy 
is hardly contagious. 

Piatt's Starport Guide offers maps, dia- 
grams, port information, character profiles 
and adventure ideas for each starport, as well 
as original color illustrations by Chris Gos- 
sett, artist of the Tales of the Jedi and Dark 
Lords of the Sith comics. And, of course, 
since the information you'll hold in your 
hands is highly illegal, there's even a summa- 
ry of Imperial spacefaring regulations. 

Now that you've been warned, g'waan. 
beat it. 

— Michael McAvennie 

10 STAKLOG/NovemberI995 

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Other celebrities available from Entertainment & Sports. Call or write today for your favorite star. 

Peace by Gene Wolfe (Tor, trade paper- 
back, 272 pp, $12.95) 

Through some unexplained means, Alden 
Weer has the power to mentally explore his 
own past and even affect events, a little like 
Sam Beckett in Quantum Leap. But Gene 
Wolfe's Peace, which originally appeared in 
1975 and won a literature award, does noth- 
ing as dramatic as Sam. Alden's exploration 
deals with the minutiae of an ordinary life, 
on a day-to-day basis. 

Peace is not science fiction, and only 
marginally qualifies as fantasy. Instead, it's a 
modern equivalent of Proust's Remem- 
brance of Things Past — without necessarily 
matching that work's acute perception. (This 
is not a criticism, for almost no writers have 
equalled Proust in this field.) It does well at 
dissecting in small, accurate touches the 
greyness and hopelessness of Alden's last 
days, and showing how they become trans- 
muted through his examination of his life. 
Peace is a work of pure literature, and in that 
respect, it is a fine piece of work, well 
deserving of republication. 

— Jean-Marc Lofficier 

Celestis by Paul Park (Tor, hardcover, 288 
pp, $21.95) 

Humans have repeated the mistakes of 
the past on the planet Celestis and invented 
new ones in Paul Park's bleak look at the 
familial' and the alien. On Celestis, humans 
have built a society caricaturing the one they 
fled on Earth, depleted the planet's resources 
and wiped out — perhaps — one intelligent 
species and enslaved another. Worst of all. 
they've used drugs and surgery to mold their 
subject race, the Aboriginals, into second- 
class copies of humans. 

Simon Mayaram, a diplomat from Earth 
who thinks himself superior to the local 
white supremacists, becomes infatuated with 
Katherine Styreme. an Aboriginal woman 
who imagines herself wholly human. When 
they're kidnapped by native rebels. Kather- 
ine is deprived of her drugs and begins the 
grotesque, agonizing return to her alien iden- 
tity while Simon watches, helpless and 

Avoiding romance, humor or melodrama, 
this novel depicts characters who never 
approach understanding each other as they 
lie to themselves and wander an alien land- 
scape they can neither perceive nor grasp. 
Brilliant and depressing, Celestis definitely 
isn't for everyone. 

— Scott W. Schumack 

Maia's Veil by P.K. McAllister (Roc/Pen- 
guin, paperback, 275 pp, $4.99) 

The second book of P.K. McAllister's 
Cloudships of Orion series finds the crew of 
Siduri 's Net facing a difficult choice: either 
submit to the uncomfortable will of their 
mothership, or risk everything in a desperate 
voyage to the Pleiades. For Sailmaster Pov 

Janusz, it's a situation which promises to put 
him in the forefront of whatever happens, for 
good or for evil. 

There has been a recent happy trend of 
readable books dealing with the subject of 
interstellar commerce. This series is no dif- 
ferent, but what makes it special is McAllis- 
ter's choice of characters. The cloudships are 
ere wed by an ethnic variety, with Siduri 's 
Net carrying a goodly compliment of Rom. A 
large part of the story deals with some of the 


domestic problems being faced by lanusz 
and his family, and these end up being the 
novel's most fascinating aspect. McAllister 
has taken the time to go beyond the stereo- 
types and cliches surrounding the Rom, and 
the result is a thoroughly engrossing story. If 
McAllister wanted to devote more books to 
Pov Janusz and his personal life, there would 
be little complaint from the audience. 

—Michael Wolff 

III Wind by Kevin J. Anderson and Doug 
Beason (Forge, hardcover, 384 pp, $23.95) 

Civilization falls again in III Wind: this 
time the culprit is a bacteria that eats petro- 
carbons, like gasoline and plastic, leaving the 
survivors with dead cars and melted credit 
cards, but the aftermath is still familiar. Once 
again, sociopaths run amok, cities burn, can- 
nibal gangs eat out, military dictators get 
high on martial law, scientists defend the last 
hopes for tomorrow from barbarians and 
rugged loners discover the love of a good 

The writers have tried to make /// Wind 
more than just another Irwin Allen mini- 
series novelization, and the results are better 

than most disaster yarns. Besides the rigor- 
ous technical background and realistic west- 
ern American landscape, there are clever 
characterizations, like the lecherous Speaker 
of the House who becomes an impotent Pres- 
ident, and the gawky technician who blos- 
soms into Calamity Jane. /// Wind is 
predictable, but it is often exciting and occa- 
sionally touching. Even readers who ordinar- 
ily avoid catastrophe-of-the-month books 
might find it entertaining. 

— Scott W. Schumack 

Kaleidoscope Century by John 
Barnes (Tor, hardcover, 256 pp, 


If John Barnes wants to gain a 
reputation as the '90s' answer to 
John Brunner, then books such as 
this one might do the trick. Brun- 
ner spent a great deal of time 
looking at the future and shaking 
his head. Barnes' futures are 
vividly designed and rather color- 
ful, but they don't stand out as 
places where a person can expect 
to have a good time, or a peaceful 

Joshua Ali Quare is a merce- 
nary who starts out working for 
the Communist party. Early in his 
career, he's given a virus which 
makes him physically 10 years 
younger every 15 years, but 
which also wipes his memory in 
the process. The book finds Quare 
on Mars, trying to fit the records 
of his past together. Through this, 
the reader is able to follow 
Quare's life as he describes his 
moves from one organization to 
another, detailing a career which 
gradually grows more bloody and 
efficient. In Barnes' world, the 
technology of information itself 
becomes less of a given and more of a com- 

Barnes always puts his readers on a 
rollercoaster, loading image after image onto 
a complex vista. His futures will win no 
prizes for being prime vacation destinations, 
but they nonetheless manage to draw the 
reader's attention and hold it. 

—Michael Wolff 

Nautilus by Vonda N. Mclntyre (Ban- 
tam/Spectra, paperback, 432 pp, $5.99) 

This fourth installment in Vonda Mcln- 
tyre's Starfarers series opens with the first 
meeting between the human explorers and 
the alien societies of the Four Worlds. After a 
number of colorful incidents, the action 
eventually centers on the strange creature 
dubbed "squidmoth," which inhabits the 
semi-living starship Nautilus that was 
bequeathed by the entity Nemo to the female 
human alien specialist, J.D. Sauvage. From 
all this will come one of those deus ex machi- 
na breakthroughs which ensure that humani- 
ty will be well-received by its cosmic 

Mclntyre's Starfarers series covers 

12 STARLOG/Afovew/w 1995 

ground somewhat similar to C. J. Cherryh's 
Chanur series. It has the same spunky human 
protagonists, well-defined characters who 
are easy to relate to, and similarly colorful, 
unpredictable aliens. Like Cherryh, Mclntyre 
also knows how to blend a traditional, Camp- 
bellian ''Mankind Uber Alles" attitude with a 
genuine, modern spirit of brotherhood and 

Nautilus (which can be read and under- 
stood on its own. no mean feat) is an enter- 
taining romp; however, Mclntyre would 
benefit from arranging her characters and 
concepts around a tighter, more suspense- 
driven plot. Cherryh's characters are always 
one step away from total doom: Nautilus 
reads more like a leisurely, 400-page-plus 
tour of the garden. 

— Jean-Marc Lqfficier 

The world in which Fortress' action takes 
place is a pretty standard medieval one, with 
a past seemingly borrowed wholesale from 
J.R.R. Tolkien: It was once ruled by the 
Sidhe (elves), and greater wizard-kings 
before them. The evil entity, for all practical 
purposes, could be Sauron. All this would be 
bearable if Fortress was a rollicking good 
read a la Stephen Donaldson's Covenant 
series. But most of the book is almost exis- 
tentialist, with characters spending great 
amounts of time doubting each other and 
their purposes in life. Cherryh's undeniable 
writing skills keep us reading, in the hope 
that something will happen — and eventually 
it does — but it hardly seems enough. 

— Jean-Marc Lofficier 

Fortress Art: By & Copyright 1995 Peter Goodfellow 

Gala's Toys by Rebecca Ore (Tor, hard- 
cover, 320 pp, $22.95) 

This story details a future where the 
business of genetic engineering and retro- 
engineering have evolved to the level of a 
general consumer industry. Genetically 
altered insects deliver drugs and therapy, 
bodies can be routinely redesigned and an 
entire subclass of people have developed 
who allow their brains to be used to aug- 
ment computer systems. 

As described by Rebecca Ore, the future 
is fascinating enough. What makes Caia 's 
Toys even more interesting are the charac- 
ters with which Ore populates her world. 
One of them, an "eco-terrorist," becomes 
especially readable as her career is fol- 
lowed from federal prisoner on through 
undercover trainee and, eventually, as a 
"drode-head" trying to uncover the secret 
behind an illegal genetic engineering 

Ore writes of a disturbingly valid future. 
a world where, in the words of one of her 
characters, "technology makes people into 
machine parts." What Thea von Harbou 
accomplished with steel decades ago in 
Metropolis, Ore accomplishes today 
through the updated techniques of microbi- 
ology. But the beauty of the situation is 
that, despite being machine parts, Ore's 
characters still hold onto some small spark of 
what the reader recognizes as humanity. 

—Michael Wolff 

Fortress in the Eye of Time by C.J. Cherryh 
(HarperPrism, hardcover, 568 pp, $22) 

Why is it that C.J. Cherryh's SF novels 
are all rollercoaster rides through elaborate 
alien societies, while her fantasy work is 
slow, uninvolving and hardly original at all? 

Fortress' protagonist is young Tristen, an 
amiable, trusting, melancholic, golem-like 
man housing a long-dead spirit, created by a 
mighty sorcerer to defeat his enemy, an 
undead evil out of the far past. Tristen 
befriends Cefwyn, a prince of the realm, and 
soon a besieged King, when his father is 
murdered by the forces of evil. Eventually, 
after much melancholic angst and hand- 
wringing, there is a big battle and evil is 
promptly banished. 

Hugo Award Winner 

This Other Eden by Ben Elton (Pocket 
Books, trade paperback, 375 pp, $12) 

The end of the world is near; so how do 
we market it? Relentless logic meets corro- 
sive satire in this book that soars as a spoof if 
it lags as a novel. In the near- future, un- 
scrupulous media czar Plastic Tolstoy makes 
billions selling Claustrospheres, geodesic 
dome "lifeboats" for surviving the global 
ecological collapse. Opposing him is heroic 
eco-prophet Jurgen Thor, who argues that the 
very idea of surviving the apocalypse is mak- 
ing doomsday inevitable. Between them are 
assorted secret agents, movie stars, eco-ter- 
rorists and screenwriters, all wondering 
what's really happening. 

Ben Elton's dissection of advertising, 
Hollywood and society in general is pointed 
and convincing, but his book has so many 
subplots, digressions and asides that it lacks 
forward momentum. The solution to the 

"mystery" is obvious from the start, and 
while the ending features a fight/rescue that's 
riveting and hilarious, it leads to a rushed, 
unbelievable and anticlimactic conclusion. 
The parts are greater than the whole, but at 
the best. This Other Eden is bawdy, funny 
and thought-provoking. 

— Scott W. Schumack 

Legacy by Greg Bear (Tor, hardcover, 352 

pp, $22.95) 

Even though this novel starts in the uni- 
verse of The Way, previously introduced in 
Eon, it really stands alone. Young agent 
Olmy is sent to explore and report on the 
human colony of Lamarckia established 37 
years earlier by a group of radicals. Lamar- 
ckia (named after French biologist Lamarck) 
presents the unique feature of being 
inhabited by sentient ecospheres in 
which everything (vegetables, ani- 
mals, etc.) is but an extension of the 
"queen's" collective mind. How the 
humans have adapted to Lamarckia, 
biologically and sociologically, is the 
subject of the novel. 

Legacy is both fascinating and 
frustrating. On the plus side, the char- 
acters are wonderfully drawn and 
entertaining. Olmy's maturing and 
discovery of Lamarck is a solid linch- 
pin for the book. The planet itself is a 
remarkable construct, filled with new 
ideas (the living storm eco-system, 
the fauna "sampling" the humans, 
etc.) The sociological scene, showing 
human society being split into war- 
ring fractions, is logical, if under- 
explored and hardly original. 

Yet, despite all these elements, 
Legacy feels somewhat empty. What 
happens hardly seems to matter; there 
is no big climax, and whatever revela- 
tions one finds about Lamarck's 
attempts to deal with the humans are 
left mostly unexplored. Jack Vance, 
Robert Silverberg or Frank Herbert 
would have squeezed these premises 
for every ounce of the complex 
human and colorful alien drama they 
contain. Bear's leisurely promenade 
and detached, almost nostalgic ending leave 
us unsatisfied. 

— Jean-Marc Lofficier 

Lethe by Tricia Sullivan (Bantam/Spectra, 
paperback, 416 pp, $5.50) 

Explorer Daire Morales passes through a 
dimensional gateway to a world where a lost 
colony of children — possibly descended 
from war criminals — live in symbiosis with 
an alien presence. Even as he comes to love 
an ageless "child," Daire realizes that the 
agonizing transformation the kids face as 
they grow hides another, darker secret. 
Meanwhile, on Earth, Jenae, one of a group 
to mind-link with dolphins, uncovers infor- 
mation regarding Daire's colony. With the 
powerful "Pickled Brains" turned against 
her, she flees into a world still reeling from 
the Gene Wars, where "pure" humans strug- 
(continued on page 65) 

STAKLOG/November 1995 13 













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(One envelope per conventions/ease). To order tickets and/or pns/erred 
. «s eating call (818) 409-0360 9AM-3PM Pacitic Time, 
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; Paramount Pictures Corporation. All Rights Reserved. GOLDENEYE and the 007 GUN LOGO 01 995. 1 962 Danjaq. Inc. and United Artists Corporation. All Rights Reserved. 

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THE X-FILES TM & © 1995 Twentieth Century Fox Rim Corporation. All Rights Reserved. EN TEHTMINMEN T 





For many. Roger Zelazny will be best 
remembered as part of science fiction's 
"New Wave" movement of the '60s. along 
with writers like Samuel R. Delany, Ursula 
K. LeGuin, Thomas Disch, Harlan Ellison 
and Norman Spinrad. He deserved being 
named as one of STARLOG's 100 Most 
Important People in Science Fiction in 1985. 
For those who had a chance to meet him or 
work with him. he will be remembered as a 
generous and kind, soft-spoken, humble man 
who touched the lives of those around him. 

Zelazny, 58, died June 14, 1995, in Santa 
Fe, NM, of kidney failure associated with 
colon/rectal cancer. Zelazny had known of 
the disease for some time, but the cancer had 
seemed to be in remission for the previous 
year and he preferred to keep it private. 

The New Wave in American SF was 
heralded by writer Judith Merril and saw 
authors trying new ways to tell stories, some- 
times even attempting stream-of-conscious- 
ness pieces. It was the beginning of an 
emphasis less on the technical, hard sciences 
and more on the social sciences and psychol- 
ogy of characters. 

Born in Cleveland. Ohio. Zelazny earned s 
an MA in English from Columbia University | 
in 1962, specializing in Elizabethan and g 
Jacobean drama. He had his first story, "Pas- g 
sion Play," published the same year in Amaz- ° 
ing. From that beginning, he burst upon the | 
SF scene with 16 stories sold in his first full £ 
year of writing. | 

Zelazny's first Hugo nomination came a a 
year later for the 1963 piece 'A Rose for| 
Ecclesiastes," involving Martian culture. He a 
was awarded a Huso and two Nebulas for his £ 


1965 works — the novel This Immortal: the 
novella He Who Shapes, concerning a doctor 
who enters his patient's dreams to treat their 
disorders; and the novelette The Doors of His 
Face the Lamps of his Mouth, the tale of a 
relentlessly pursued, enormous sea monster. 
In 1967, Zelazny published about 20 short 
stories and his personal favorite novel, Lord 
of Light, based on the Hindu pantheon. Con- 
sidered by many as his finest effort, it won 
the 1968 Hugo Award. 

In 1969, Zelazny became a full-time 
writer, giving up his job with the Social 
Security Administration in Cleveland. While 
the number of short stories lessened some- 
what, his production of novels increased, 
including Creatures of Light and Darkness 
(populated by Egyptian gods and goddesses), 
Damnation Alley. Isle of the Dead, and in 
1970, the first book in the long-running 
Amber fantasy series, Nine Princes in 
Amber. In 1975, he moved to Santa Fe and 
continued with such novels as Doorways in 
the Sand; My Name is Legion; Courts of 
Chaos; Eye of Cat. which drew on Navajo 
religion and folklore; and the darkly comic A 
Night in the Lonesome October, told from the 

point-of-view of Jack the Ripper's dog, with 
illustrations by Gahan Wilson. 

He continued working almost to his 
death, completing an untitled novel based on 
a fragment by Alfred Bester; editing an 
anthology with a gambling theme, Wheel of 
Fortune, which includes an Amber story: 
editing and supplying the opening and out- 
line format for Forever After, an interwoven 
collection of four novellas by four authors; as 
well as devising the initial idea for a CD- 
ROM game developed by companion Jane 
Lindskold. A science fiction novel. Donner- 
jack, was also in progress. 

While Zelazny published more than 150 
short stories and 50 books in his career, only 
two of his works received the Hollywood 
treatment. While he was never very happy 

Roger Zelazny was truly a lord of light 
and a prince of Amber. 

with the 1977 movie version of Damnation 
Alley, he was pleased with George R.R. Mar- 
tin's treatment of "The Last Defender of 
Camelot" for the CBS revival of The Twilight 

For many SF writers in the '70s, 
Zelazny's prolific nature and recognition 
offered inspiration and a challenge to do their 
best. "I think he influenced all the writers of 
my generation," says friend and fellow Santa 
Fe writer Martin. "For those of us who start- 
ed then, he was a towering presence. I mean, 
he was being nominated every year for two 
or three Hugo and Nebula Awards. 

"There was lots of excitement going on in 
the field in the '60s and '70s, and Roger was 
right at the heart of it. Roger proved you 
could mix the old style of science fiction 
with the new style. That kind of fusion is 
something to which I've aspired. Of course, 
no one did it as well as Roger." 

In addition to trying new styles and dif- 
ferent solutions to writing problems, Zelazny 
also enjoyed collaboration with other authors 


Charles Bennett, one of the screen's first — 
and greatest — writers of suspense melo- 
dramas and a periodic contributor to the SF 
genre, has died at age 95. 

Five months older than the 20th century, 
Bennett was born in Shoreham-by-Sea, Eng- 
land, and had a stage acting career before he 
turned to writing in the 1920s. He was well- 
known as the author of a number of Lon- 
don's most commercially successful plays 
when he was invited to adapt his play Black- 
mail to the screen for director Alfred Hitch- 
cock. Hitchcock, eager to avoid the static 
quality of early talkies, determined that 
Blackmail have the sweep and action of the 
silents, and he told Bennett to move the story 
from interior settings onto London's streets. 
Hitchcock used a portable camera to film 
these scenes, resulting (according to Ben- 
nett) in "a movie of enormous atmospheric 
values... [We had] unwittingly established a 
formula for the production of suspense pic- 

Bennett subsequently penned the scripts 
for Hitchcock's — and England's — greatest 
movies of the 1930s, including The Man 
Who Knew Too Much and The 39 Steps. But 
he told an interviewer in the mid-30s that 
British movie firms were the nearest thing to 
zero in the English-language motion picture 
field and he migrated to Hollywood, where 
he intended to specialize in comedy thrillers 

and the chance to explore different view- 
points. Deus Irae. set in a bizarre, post- 
holocaust environment, was written in 1976 
with Philip K. Dick, while Coils was done in 
1982 with fellow New Mexican Fred Saber- 
hagen. A partnership with Robert Sheckley 
produced three comedic fantasy novels, 
including Bring Me the Head of Prince 
Charming, focusing on Millennial contests 
between the forces of Good and Evil for con- 
trol of the universe. 

"He was so easy to work with," Saberha- 
gen notes about their collaboration. "We will 
miss him incredibly." 

For many people, Saberhagen's words 
echo their own thoughts. Not only was 
Zelazny an acclaimed author, but he made a 
habit of encouraging others with generous 
words about scenes or chapters of theirs that 
he enjoyed. For the writer who seemed fasci- 
nated with the way things work and the way 
in which everything is interlinked, Zelazny 
always had a kind, sincere word for every- 
one — be they a fellow professional or a fan. 

"He never looked down on any fans or 
beginning writers," says companion Lind- 
skold. "He enjoyed their company and 
thoughts. He was happy to talk to them and 
shared their enthusiasm. They were impor- 
tant to him." 

Perhaps Martin's words best sum up 
Roger Zelazny: "He was a writer and a great 
man. He was one of my best friends. We have 
lost one of the good ones." 

— Craig W Chrissinger 

16 STARLOC/November 1995 

similar to 39 Steps. Having worked with 
England's premier filmmaker (Hitchcock) in 
the '30s, he now collaborated with Holly- 
wood's top man Cecil B. DeMille in the 
1940s. Another DeMille screenwriter, Jesse 
L. Lasky Jr., recalled that "Charles Bennett 
would appear wreathed in scarves, draped in 
a dashing blazer, or dustily booted, fresh 
from a polo match. He flew planes, rode like 
a Cossack and could, on occasion, come 
dangerously near stealing scenes from the 
Boss [DeMille], who had always been sec- 
ond to none in 'office performances.' " Dur- 
ing World War II, Bennett maintained his 
screenwriting career while at the same time 
working for the British Ministry of Informa- 
tion and U.S. Naval Intelligence simultane- 

In the '50s, he started writing and direct- 
ing for TV and also began a long association 
with advertising agency owner-turned-film- 
maker Irwin Allen. "From that moment on, I 
must admit, I wish to God I'd been dead. He 
is the end\" Bennett told interviewer Pat 
McGilligan of his years with Allen. "I could 
not stand [Allen], he was a dreadful man, 
with the most horrible swollen head and 
everything," the writer railed on in a STAR- 
LOG #193 interview. "He always took other 
people's credits and things like that; he 
never wrote a damn thing himself, but he 
always put his name on pictures if he could." 
For Allen, Bennett wrote (among others) the 
1 960 Lost World remake and Voyage to the 

The dashing Charles Bennett made his 
mark as playwright, screenwriter and TV 

Bottom of the Sea, and he also contributed 
scripts to the TV Voyage, The Time Tunnel 
and Land of the Giants. According to Ben- 
nett, his suggestion to Allen for a movie 
about a family of space pioneers was trans- 
formed by the producer into TV's Lost in 

Bennett's best and most famous genre 
script was for the English-made Curse of the 
Demon (English title: Night of the Demon), 
with Dana Andrews as a supernatural 
debunker stalked by a hellish evil spirit. 
Sharing the sentiments of many fans, Ben- 
nett balked at the fact that the moviemakers 
"put in a monster to look at, which made me 
very angry. I preferred that the audience 
should have to imagine the horror that was 
after this man, instead of seeing it." The 
1958 film, directed by Jacques Tourneur, is 
perhaps the greatest horror film of the 1950s. 

"The industry is considered a young 
man's industry. If you're 40, you're getting 
around the bend." Bennett said this to The 
New York Times in the early '90s, at a point 
when the 91 -year-old writer had just been 
hired by 20th Century Fox to pen a remake 
of Blackmail (with the setting switched to 
Washington); he told STARLOG that if he 
couldn't write, he wouldn't want to live. 
Bennett, who died June 15 of natural causes, 
was the oldest and dearest friend of actress 
Anna Lee (of John Ford stock company 
fame), who was 16 years old when Bennett 
gave her her first acting job in a touring 
company production of his play The Last 
Hour. "Charles was just a tremendous fig- 
ure," Lee told STARLOG. "He had a bril- 
liant mind and great wit and wonderful 
charisma. He was a connoisseur of old wine 
and young women, and I loved him dearly." 
— Tom Weaver 

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...Robert Longo is a great artist: I've seen some of 
his work. He also appears to be a fabulous guy just 
to hang out with as Kim Howard Johnson discov- 
ered in STARLOG #2 1 6. It make his feature film 
debut all the more disappointing. Johnny Mnemon- 
ic, despite the blessing and cooperation of sub- 
genre figurehead and author William Gibson, is 
tame cyberpunk. Although it takes place in the near 
future and contains dazzling computer graphics 
and tons of grimy hardware, the story is little more 
than warmed-over Elmore Leonard. The plot won't 
surprise anyone who has seen or read the average 
number of cops-and-robbers thrillers in a lifetime: 
the main character attempts to deliver a highly 
prized item through a gauntlet of enemies to a pre- 
arranged destination without getting himself killed 
in the process. 

Johnny Mnemonic'*, weaknesses became 
apparent in comparison to another cyberpunk 
movie. RoboCop. It. too. has a theme that Longo 
terms "democracy vs. capitalism": it. too, has a 
repellent vision of the future and a pervasively evil 
multinational corporation. But. unlike the humor- 
deficient Johnny. RoboCop possesses a biting 
satirical edge. e.g.. the funny Reaganomics-bash- 
ing TV commercials. RoboCop also triumphantly 
vindicates its demi-human protagonist in the end. 
whereas in Johnny Mnemonic we. the audience, 
strain to feel anything for the titular character even 
though he saves the world from plague. 

Johnny Mnemonic, moreover, is an indication 
that the days of cyberpunk as an earnest cinematic 
endeavor may be numbered. Much of what consti- 
tutes the field is 
being co-opted by 
the mainstream. 
For instance, the 
virtual reality 
sequence in Dis- 
closure, based on 
Michael Crich- 
ton's sexual har- 
a s s m e n t 
bestseller, rivals 
the special FX 
scene in Johnny. 
There's The Net. 
in which a female 
keyboard jockey 
tries to regain the 
documents of her 
identity erased by 
shadowy forces in 
the Internet. In a 
few more years, 
cyberpunk may be buried in its own cliches. 

Al Christensen 

543 1 South Oakes 

Tacoma. WA 98409 


UnroWunsfeiY. re-Hrememt- did lif/le h 
dim f\Wz\>'5 obsessions. 


...I think Joseph Scotti was jumping to too many 
conclusions in STARLOG #211. Who's to say 
what Gene Roddenberry would or not approve if 
he was still alive? I'm apt to agree more with Day- 
ton Kitchens' argument in issue #210 that we can- 
not keep ridiculing every new episode and film in 
the Star Trek Universe simply because it might not 
have pleased Roddenberry. I also have some evi- 
dence to support this idea. 

First, if Roddenberry would supposedly be so 
adamant if he were alive today about not killing off 
his greatest creations, then why did he allow the 
destruction of the original Enterprise in Star Trek 
III: The Search for Spock back in 1984? Wouldn't 
he have protested the decision to blow up such a 
cultural icon as the U.S.S. Enterprise, and there- 
fore have changed the events of that particular 

Second, it was Roddenberry himself who 
wanted Denise Crosby's character killed off in a 
senseless act of violence fitting of a Starfleet secu- 
rity officer, when the actress decided to leave The 
Next Generation years ago. If he didn't want this 
character destroyed, why didn't Roddenberry just 
have Yar leave the ship so that the actress could 
make guest appearances later on. or even return to 
the show? 

Third, when Rick Berman went to Roddenber- 
ry in 1991 and asked for his approval of Berman's 
project. Deep Space Nine. Roddenberry wished 
him Godspeed. In a previous interview. Rodden- 
berry also said something to the effect that he 
hoped some day "they'll be making Star Trek that 
makes Roddenberry 's pale in comparison." He 
even stated that he thought Captain Kirk would be 
dead by Picard's time. Captain Kirk is. and will 
always be. a hero. I think Roddenberry would have 
wanted Kirk to die like one. 

Roddenberry would be proud of his Universe 
today. I'm not a teenager who's biased toward 
either The Next Generation or the other new series 
because I never watched the original. I was watch- 
ing Star Trek long before Picard and Sisko. 1 simp- 
ly feel that the universe created by Roddenberry 
has evolved into a higher form, and that all of the 
moral principles and optimistic ideals are still 
intact in today's new episodes. As for Generations. 
it's not as good as at least three of the previous 
movies, but it does have its 
place. To tell you the truth. I 
was actually saddened more 
by the deaths of Picard's fam- 
ily and the loss of the NCC- 
1701-D than by Kirk's dying, 
since I've always known that 
one day. no matter how 
painful it would be. I would 
have to watch him go (and he 
didn't die alone). The new 
film was perfectly named, 
and it seems to be about 
missed opportunities, the loss 
of old friends and places you 
can never return to again. It 
intelligently captures aspects 
of existence we don't want to 
face, and that's why the 
movie has such a foreboding, 
melancholy feel to it. But I 
think that's why we enjoy 
Star Trek so much. In all of its forms, it always 
depicts the emotions deep within our psyche that, 
no matter how illogical. 


Yes. it's safe to conclude now that Rick 
Berman. Michael Piller. Jeri Taylor and all the rest 
have handled the Star Trek franchise well. No mat- 
ter what anyone says. DS9 is an exceptional series 
that has been executed perfectly since its begin- 
ning. You can't even say that about good old Next 
Generation, which took three seasons to find its 
footing. The stories on DS9 have the same scope 
and feel of the original series, and in the show's 
first three seasons alone, some of the best Treks 
ever have been written. I want to thank everyone 
involved with the show for delivering the highest- 
quality programming on television during these 
four years since Roddenberry 's passing, and wish 
them well with Voyager in the future. Joseph Scot- 
ti, V. Ouligian and Amber Pippin should reexamine 
the current state of the Trek Universe. They'll find 
that it's still the most magical, most intelligent, 
insightful place to be on television. 

Matt Isrig 

1958 Key West Drive 

Arnold. MO 63010 

cruise from LOS ANGELES 




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AUGUST 2— 4.1996 

Join at least 20 of the worlds most 
famous and popular actors in science 
fiction and Star Trek at a weekend 
con benefitting the Motion Picture 
and Television Fund and its many 

Already pledged to appear (barring 
professional conflicts) are RENE 
SHIMERMAN, among others! 

For a free brochure detailing prices, 
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...I never reply to other letters because I figure 
everyone is entitled to their own opinion, and it's 
silly to get upset about what is. after all. an enter- 
tainment product. However. I find myself object- 
ing to Perry McGrath's off-hand dismissal of Deep 
Space Nine. First, but probably least important 
really, is the fact that DS9 has taken over TNG's 
number-one spot in the syndicated ratings, hardly 
what one would expect if "most of its audience has 
already abandoned ship." Maybe he jumped off. 
but many other people are coming aboard. 

It's the very fact that DS9 cannot warp away 
from the trouble that fascinates me. These people 
not only have to deal with the fact that they are not 
all operating from the same agenda, but they must 
live with the consequences of their actions: they 
can't just "engage" their engines and move on. 
Their dilemma is much like ours: we have now here 
else to go. so we had better make good decisions. 

The DS9 cast is the strongest of the four, and 
they are growing, evolving and changing as they 
interact with each other and with a rich variety of 
new and recurring characters. The fabric of DS9 is 
much more complex than the other shows, simply 
because the station stays put. That gives the writ- 
ers an unprecedented opportunity to explore real 
psychological situations in depth, sometimes over 
a period of months, rather than descending to 
mindless shoot 'em-ups. However, if McGrath 
prefers action to reflection, then I can understand 
why the show doesn't appeal to him. There's noth- 
ing wrong with action shows, it's just that we have 
plenty. Please don't knock the one show that does 
something else. 

Finally, the show has given me personally, and 
other women I know, the best (not to mention sex- 
iest) bad guy in the galaxy: Gul Dukat. That arro- 
gant Cardassian is welcome to stomp in here any 
time he likes. Marc Alaimo's portrayal soars off 
the screen and makes what could be a stock villain 
endlessly intriguing. To see how far the show has 
come, we need only examine the changes in Dukat. 
The smug, sneering bastard who strode into 
Sisko's office in the first episode is not the same 
man who was depressed and upset because he 
could not take his son to the Amusement Center in 
"Defiant." Dukat has become complex, three- 
dimensional, infuriating, attractive, treacherous, 
trustworthy; he's changing and growing, just as the 
show is. This could have been foreseen and 
planned out by the producers from the beginning, 
but my guess is that it's the result of people like me 
writing and yelling. "Gul Dukat is gorgeous! Do 
more with him!" And they can. because they are in 
the DS9 Universe. 

We never saw changes like these in the Enter- 
prise crew, nor will we see them in Voyager. The 
characters in those shows are forced by their situa- 
tion to behave in certain ways. By freeing the DS9 
people from the constraints of shipboard harmony, 
Rick Berman and Michael Piller have aiven us the 



THJ5 F00UN& ^s -cj 


darkest, most difficult, but ultimately, most satisfy- 
ing show of all. 

Karla G. Von Huben 

3036 Hawthorn Street 3 1 8 

San Diego. C A 92014 

...This letter is in response to V. Ouligian's letter 
in STARLOG #211. Ouligian expresses grave 
opinions of the future Star Trek and expresses the 
disenchantment that Ouligian has with both the 
new generation of Star Trek movies and the new 
series Voyage;-. However, my intention is not to 
attack Ouligian's points personally: the points 
brought up in that letter have been expressed by 
many other fans. Many fans complain that Star 
Trek has become nothing but a money-making 
machine and that Rick Berman is nothing but a 
murderer of Gene Roddenberry 's philosophies or 

First off. the new series of movies should not 
be put down. Generations was a good start for the 
Next Generation crew. Yes, Gates McFadden and 
Marina Sirtis deserved bigger parts. Yes. some fans 
had problems with Data gaining emotions. How- 
ever, the one point of contention that many fans 
seem to have a problem with is the death of Cap- 
tain Kirk. V. Ouligian stated that Kirk's death was 
murder by Berman. violating the sanctity of Rod- 
denberry's greatest character. Well, unfortunately, 
that complaint holds little water. Many fans who 
i have read interviews with Roddenberry before The 
Next Generation ever aired will remember that one 
of the biggest questions asked was. "What has hap- 
pened to Captain Kirk?" Roddenberry never gave 
a storyline idea or a definitive answer, but he 
always suggested that by the 24th century. Captain 
Kirk had died. Berman was simply working under 
a premise that Roddenberry had set down long 
ago. Also. Captain Kirk did die in Generations, but 
everyone at this point realizes that there is another 
Kirk still in the Nexus living happily. As for the 
future of Trek, so far. Voyager has not yet disap- 
pointed me. The premiere episode did not make 
the mistakes that both The Ne.xt Generation and 
Deep Space Nine made. Once again, as with Deep 
Space Nine, Voyager puts Starfleet officers in a dif- 
ficult situation and difficult conditions. Yet. they 
still manage to carry out their missions and coop- 
erate with each other despite incredible odds. 

As for Star Trek being nothing but a money- 
making machine: seriously, my fellow Trekkers. 
Star Trek has always been a money-making 
machine of one form or another. Roddenberry 
always had to give up a little to push his overall 
vision. If that were not true, the first officer of the 
original Enterprise would have been a woman for 
almost 30 years now (I refer of course to the origi- 
nal Number One from original series pilot). Star 
Trek has to make money to survive. That is not a 
bad thing. 

Star Trek's future is not one of pure commer- 
cialism, strife, ignorance or lack of vision. If any- 

thing. Star Trek's future is looking brighter than 

Benson Gregory Yee 

Address Withheld 


..Seeing Species was. I dare say. rather the low 
point of my 22nd birthday. Species wasn't all that 
awful, but it wasn't exactly great. I don't particu- 
larly enjoy picking apart movies, and I enjoy it less 
when said movies get coverage in STARLOG. I'm 
not in the moviemaking business myself, but I do 
know that usually many hard-working, talented 
people do a lot of hard work when they make a 
movie, and they get more than riled if some critic 
or. worse, some regular wanker like me belittles 
their hard work. Your articles on Species have 
revealed that a lot of hard work was done. Despite 
all the ads. articles and what I hear from friends. I 
really don't go to the movies that often. When 1 do. 
more often than not I see something science fic- 
tional. Recently, some of the more science fiction- 
al stuff I've seen hasn't been that great. I don't 
pretend to know why. 

Except for the really weird sex. Species would 
be a likely "experiment" for Mike and the 'bots to 
endure on Mystery Science Theater 3000. A good 
number of this movie's concepts have been execut- 
ed more effectively on episodes of The X-Files. 
Unfortunately, Mulder and Scully weren't there to 
help. What really made me interested in Species 
was that its creature was designed by none other 
than H.R. Giger. I like bizarre beings like the ones 
featured in the ALIEN and Predator films, and I 
am a devotee of Giger and his grotesquely beauti- 
ful artwork. But as often happens in a film such as 
Species, one doesn't get a good look at the creature 
until near the film's end. and then in such a dimly 
lit setting that you still don't see much. I'm certain 
Giger would want Sil to be seen. It was only in the 
latest issue of FANGORIA that I got a good look at 
the animatronic Sil. The creature is beautiful, but 
in the film we don't really get to see her beauty, her 
translucence or the way her hair moves with a life 
of its own. Instead, we get to see all these nasty 
appendages erupting from various parts of her 
body and strangling or perforating some unsus- 
pecting victim, and a lot of high-speed scamper- 
ing. We don't even get a good look at the 
nightmares Sil has (though they mainly seem to 
feature Sil in the embrace of a male of her own, 
ahem, species.). We get to see a lot of Natasha 
Henstridge in only her own skin and in clothes, 
and in whatever nasty secretions the makeup men 
could whip up. I'm male. I like women and I'm not 
a prude, but this is really too much. 

Of course, a whole new field of speculation 
about the origins of Sil's alien DNA has been 
opened. Just what kind of alien DNA did we 
receive? Did the beings we made contact with send 
us their own DNA. or that of some other creature 
(perhaps one they created themselves)? Is it just 
coincidence that Sil bears a slight resemblance to 
the creatures from the ALIEN films, and behaves 
like them? Those savage beings were also pretty 
eager to reproduce, but they weren't choosy about 
their, ahem, mating partners. The Aliens could 
have been the product of genetic tampering by a 
higher extraterrestrial intelligence (then again, it 
could be that the Aliens' planet of origin is as sav- 
age and deadly as they are. as often happens in 
movies featuring nasty extraterrestrials), perhaps 
to be used in biological warfare, barely hinted at in 
Species and the ALIENS comic books. Of course, 
it's simply the case of one artist designing different 
creatures for different movies, and here I am ram- 
bling on about one of those movies, and not a very 
good one at that. Well, the concepts and story were 
interesting, the creature was beautiful, and the cast 



was all right, but the script left something to be 
desired. A movie needs a good script to work. Here 
was Forest Whitaker (usually a very good actor) in 
this movie as an empath. He had this tendency to 
state the obvious, which wasn't really necessary. 
Here were some scientists explaining something in 
scientific speech specific to each, and here was a 
no-nonsense guy explaining it to the audience in a 
way we were supposed to understand. Not good, 
and not terribly subtle. The fact that Sil wanted to 
reproduce wasn't communicated very subtly 
either. And where was the FBI while all of this was 

This Species was deadly. Here's to hoping that 
any movies covered in future articles of STAR- 
LOG won't be. 

Duncan Shea 

1 6880 Francis West Lane 

Dumfries. VA 22026 

...The basic premise of the new film Species is 
hardly a new one. In 1961. the BBC produced a 
seven-episode television serial, written by famed 
astronomer Fred Hoyle. which was entitled A for 
Andromeda. It dealt with a radio signal received 
from the Andromeda Galaxy which, when decod- 
ed, contained instructions for the building of a 
super-computer. Upon being constructed, this 
computer in turn provided instructions on how to 
create a living being. This results in a beautiful 
young woman (played by Julie Christie in her first 
role) whose existence causes a great deal of con- 
troversy within the government and scientific 
establishments. She is eventually hounded to death 
before the question of whether or not she repre- 
sents friend or foe can be resolved. 

Scott Jarrett 

1541 South Webster Avenue 

Lakeland. FL 33803 



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A Star Trek club that allows fans to have a 

voice in its operation. 

Sanctioning: None. 

Address: John Zepeda 

6548 Chanitilly Place 
Colorado Springs. CO 

Dues: S50 (Lifetime). $7 (Master). $5 

(Associate). S2 (first two family members). 


An international Star Trek club with mili- 
tary, diplomatic and Tal Shi' Ar positions. 
Sanctioning: None. 
Address: P.O. Box 3508 

Dayton, OH 45401 



A club for Major Kira. Nana Visitor. Bajor 

and Bajorans. 

Sanctioning: None. 

Address: c/o Kimberely Junius 
P.O. Box 1926 
Upland, CA 91785-1926 

Dues: S20 (U.S.). S25 (Canada). S30 (else- 

Membership Includes: Invidius newsletter. 

Send SASE for more information. 

tne IDEA that et4oeo b»f rs mmtR 

lN ^AM?K£TiHe». 

Dues: S8 single (U.S.: S10 dual, S12. 3-5 

household). S10 (Canada/Mexico), S13 


Membership Includes: The Star Path 

newsletter, handbook and membership card. 


A fan club for Patrick Stewart. 
Sanctioning: Patrick Stewart. 
Address: Fans of Patrick Stewart 

P.O. Box 7032 

San Jose. CA 95 150 

(408) 236-2127 
Dues: S14 (U.S.), $16 (Canada). $20 (else- 

Membership Includes: Photos, letters, bios 
and interviews with Stewart. 

Art: Bob Muleady 


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September 30-October 1 

Civic Center 
Dearborn. MI 

Creation Entertainment 

411 Norm Central Avenue 

Suite 300 

Glendale. CA 91203 

Guests: Robert Duncan McNeill. 

John de Lancie 


October 1 
Convention Center 
San Diego, CA 

Creation Entertainment 

See earlier address 
Guest: Brent Spiner 


October 6-8 

Banff Park Lodge 

Banff. Alberta 

BanffCon '95 

P.O. Box 20001 

Bow Valley Postal Outlet 

Calgary. Alberta 




banffcon95 ©Copenhagen. 

Guest: Tern. Pratchett 


October 6-8 
Holiday Inn. DIA 
Dcver. CO 

Highlander Convention 
P.O.Box 123 
Aurora. CO 80040-0123 
Guests: Adrian Paul. Stan Kirsch 


October 7 

International Plaza Hotel 
Toronto. Canada 
Creation Entertainment 
See earlier address 
Guest: Michael Dorn 


October 7 

Civic Auditorium 

San Jose. CA 

Creation Entertainment 
See earlier address 


October 7 

Jackie Gaughn's Plaza Hotel 

Las Vegas. NV 

Creation Entertainment 

See earlier address 

Guest: Tim Russ 


Twin Towers Hotel 
Orlando. FL 

Show Promotion 
405 Waltham Street 333 
Lexington. MA 02173 


October 8 

International Plaza Hotel 
Toronto. Canada 
Creation Entertainment 
See earlier address 


October 13-15 
Westshore Hotel 
Tampa. FL 

Necronomicon '95 
P.O. Box 2076 
Riverview. FL 33569 



Guests: Terry Pratchett. Ben Bova 


October 13-15 
Holiday Inn Hotel 
Elizabeth. NJ 

ConFurence East 
11037 Henning Drive 
Chardon. OH 44024 
Guest: S. Andrew Swann 


October 13-15 

Stockman's Hotel & KXA Site 

Kamloops. BC, Canada 

Interior Conventions 

Jamie Toth 

1021 McGillRoad 

Kamloops. BC 

V2C 6H4 Canada 


Guests: Eric Stillwell. 

Tracv Tonne 


October 14 
Century Center 
South Bend. IN 

Creation Entertainment 
See earlier address 


October 14-15 
Ireme Temple 
Wilkes-Barre. PA 
Class Act Productions Inc. 
P.O. Box 3363 
Mem" field. VA221I6 
Guests: Robert Picardo. 
Dave McDonnell 


October 14 
Myriad Center 
Oklahoma City. OK 
Creation Entertainment 
See earlier address 
Guest: Brent Spiner 


October 14 
Piano Center 
Piano. TX 

Creation Entertainment 
See earlier address 


October 20-22 
Lakewood Sheraton Hotel 
Lakewood. CO 
MileHiCon 27 
P.O.Box 101322 
Denver. CO 80250-1322 
Guests: Poul Anderson. 
Greg Bear. Phil Foglio 


October 21 
Meydenbauer Center 
Seattle. WA 

Creation Entertainment 
See earlier address 


October 22 
Omni Hotel 
Los Angeles. CA 

Creation Entertainment 
See earlier address 
Host: Tony Timpone 


October 26-29 

Government House Hotel and 

Convention Center 

Charlotte. NC 

Roy B. Newsom 

Knight Star Group 

P.O. Box 25713 

Charlotte. NC 28229-5713 


kstarcon @ 


October 27-29 

Ramada Hotel 

Toronto. Ontario 


303-3210 Lawrence Avenue East 

Scarborough. ON M4A 1L6 


Guests: Spider & Jeanne Robinson. 

Nigel Bennett. Peter Bloch-Hansen 


October 27-30 

Haven Holiday Center 


Great Yarmouth. England 

Cult-TV Weekend 

P.O. Box 1701 

Peterborough PE1 1EX 



Guest: Brian Clemens. 

Chris Carter 

22 STTAKLOG/November 1995 


A club for Trekkers who want to bring 
together a community to create a reality. 
Sanctioning: None. 
\ddress: First Contact 

c/o S. M. Gibbs 

90 Titan Loop 

Whiteman AFB. MO 65305 
Dues: S20 per year (U.S.). $25 (elsewhere). 
Membership Includes: Quarterly newslet- 
ters and pen pal listings. 


A club for fans to unite for the survival of 
Earth 2. 
Sanctioning: None. 

Art: Bob Muleady 


"rats! i iwm seik 



Rochester. NY 

Creation Entertainment 

».t->. kaiulani 

See earlier address 


■km Entertainment 


arber address 

November 3~5 

sc: Marina Sirtis 

Springfield Sheraton 

Springfield, MA 


Wishcon V 

*cr 28 

500 Monroe Turnpike 

■ee Countv Convention 

Monroe, CT 06468 


- " FI 

Guests: Garrett Wang. 

ixc Entertainment 

Louise Jameson 



November 10-12 

Holiday Inn. Atlanta Central 

Atlanta, GA 


Antares 1995 

P.O.Box 1273 

Lilbum, GA 30026 

Guests: Barbara Hamblv. 


Hal Clement 




November 10-12 


Sheraton Oceanfront Inn 

■ Be,ill Center 

Virginia Beach, VA 

:.. \1. 


McOuion XIV 

P.O. Box 9434 

- ; ~ 

Hampton, VA 23670 

mDc.AL 35815-4857 


■ 4493 





November 10-12 

- 5 

Hvatt Regency Woodfield 

•* t. enter 

Schaumburg. EL 


Windvcon XXII 

■jco Entenainment 

P.O.Box 184 

North Central Avenue 

Palatine. IL 60078-0184 

Guests: Poul Anderson. 

iMcCA 91203 
t» 409-0960 

Stanley Schmidt 


ember 5 

erside Convention Center 

Address: Debbie Sims 

2 120 Arrowhead Circle 
Olathe, KS 66062 

Dues: None. 


An internet list for fans to get Earth 2 


Sanctioning: None. 

Address: E-mail — 
Online Newsletter: 


Dues: None. 

Membership Includes: Send E-mail for 


A club for fans of Back to the Future. 
Sanctioning: Bob Gale. 
Address: Back to the Future. . .The Fan 

c/o Stephen M. Clark 
11101 Cardinal Drive 
Madison. AL 35758-5803 
(205) 230-6288 
Dues: S10 per year (U.S.), $15 (elsewhere). 
Checks or money orders payable to Stephen 
M. Clark. 

Membership Includes: Hill Valley Tele- 
graph, membership kit and pen pal forward- 
ing services. 


A state and international club for all Forever 

Knight fans. 

Sanctioning: None. 

Address: Fans of Forever Knight Fan 

Club — Texas Chapter 

c/o Teresa Guinn-Garcia, 


313 Elaine 

La Marque. TX 77568 
Dues & Membership Includes: Send 
SASE for information. 



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Motion in Art 


Written & Illustrated by 

Mark Simon, Storyboard Artist of 

the TV Series "seaQuest DSV" 

If you like to draw, you can make 
good money illustrating for film, TV, 
animation, commercials, computer 
games and more! This book will tell 
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172 pg. Dozens of illustrations. 
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Hope For the Future 

A culture is as rich and as capable of surviving as it has imaginative artists. The 
artist is looked upon to start things. The artist injects the spirit of life into a 
With those words in 1985. the late L. Ron Hubbard established the Writers of the 
Future Contest: "...a means for new and budding writers to have a chance for their cre- 
ative efforts to be seen and acknowledged." The contest also provides an opportunity 
to win cash prizes and a chance to get work published. 

I just returned from Houston, where I attended the 1 1th annual Writers of the Future 
Gold Awards, which included several days of creative activities. At Rice University, 
writing workshops were conducted by Dave Wolverton and Algis Budrys with guest 
speakers Kevin J. Anderson. Charles Brown and Jack Williamson. At NASA, there was 
'"Man's Role in Space." a symposium with astronauts, scientists and SF writers. In 
recent years, the contest has been broadened to include Illustrators of the Future. At the 
Hilton Hotel, there was an all-day art workshop conducted by Ron and Val Lakey Lin- 
dahn. featuring Hugo Award-winning illustrators Bob Eggleton and Frank Kelly Freas. 

The weekend climaxed with a ceremony in Space Center Houston's Destiny The- 
ater, featuring SF authors Larry Niven and Tim Powers and DC Comics editor Julius 
Schwartz (celebrating his 80th birthday!). Also on stage was legendary talespinner Jack 
Williamson, who had his first SF story published in 1928 and who presently teaches 
two classes in writing and science fiction at New Mexico's Eastern University. 

The gathering was addressed by astronaut Story Musgrave, who has logged more 
than 850 hours in space. The good doctor toasted the contest, praising it as "mentor- 
ship, in a spirit of encouragement and friendship." 

Much as all the inspiring speeches generated smiles, the contest winners, from all 
over the world, were eager for the awards presentation to begin. This was the nervous 
night of the big prizes! Here's how the contest works: Short stories (up to 10.000 
words) and novelettes (under 17.000 words) are judged each quarter, and prizes are 
awarded for first ($1,000). second ($750) and third ($500) places. The contest is open 
to anyone who has not had published (a) a novel, (b) more than three short stories or 
(c) more than one novelette. The illustration contest is similar. Tonight's Gold Awards 
were additional prizes of $4,000. presented to the best winning author and artist for 
the year. 

Hubbard launched this contest as his way of providing the world with hope for the 
future. He spent his life writing dozens of tales of heroic individuals who muster their 
inner powers and rise to heights of personal achievement, benefitting all. He knew that 
those who write speculative fiction can have a powerful influence — by creating inspir- 
ing images and propelling the culture upward. 

"what Hubbard's contest offers to struggling illustrators and writers is the opportuni- 
ty to be taken seriously. Winning this contest doesn't guarantee a successful career, but 
it does guarantee that you will be noticed — and considered. 

The'winning stories each year are published in an anthology illustrated by the win- 
ning artists. Often book contracts come to writers who previously couldn't break down 
the doors of agents and publishers. 

In 1986. Dave Wolverton's story. "On My Way to Paradise." won the Gold Award. 
He was immediately given a three-book deal by Bantam. Dave went on to write short 
stories, teach the techniques of fiction, pen the Star Wars novel The Courtship of 
Princess Leia — and now serves as Coordinating Judge for Writers of the Future Con- 
test. Dave knows, without a doubt, that the contest can launch a career. 

Accepting his award, one winner acknowledged that he had entered the contest 14 
times. "I actually learned how to draw as I submitted." A 2 1 -year-old Hungarian win- 
ner stood beside a 75-year-old Virginia winner. The author of a winning short story 
about a woman in space thanked NASA for "starting the fire in here" that led to her 
story and fueled her ambition. 

There were nothing but smiles on stage that night. What L. Ron Hubbard started "to 
give tomorrow a new form," is giving hope for the future to talented voices whose 
lives are changed forever — and whose voices have been amplified to reach the world. 

— Kerry O'Quinn 

Contest Information: L. Ron Hubbard's Writers/Illustrators of the Future Contest 
P.O. Box 1630-SL. LA. CA 90078 
1-800-624-7907 (outside California) 
1-800-624-6504 (inside California) 

24 STARLOG'Noremher 1995 

Explore the History©! Science Fiction in 

Order now while issues last! 

Note: All issues include numerous articles & 
interviews. Only a few are listed for each entry. 

=2 Gene Roddenberry. 
Space: 1999 EP 
Guide. Logan's Run. 
War of the Worlds. 

=3 Space: 1999 EP 
Guide. Nichelle 
Nichols. George Takei. 
DeForest Kelley. S35. 

#4 3-D SF Movie 
Guide. Richard 
Anderson. Outer Limits 
EP Guide. S50. 

#5 3-D Film history. 
UFO & Space: 1999 
EP Guides. S15. 

#6 Robert Heinlein on 
Destination Moon. 
Animated Star Trek. 

#7 Star Wars. 
Rocketship X-M. 
Space: 1999 Eagle 
blueprints. Robby. S35. 

#8 Harlan Ellison. Star 
Wars. The Fly. S25. 

#10 George Pal. Ray 
Harryhausen. Isaac 
Asimov. S20. 

#11 CE3K. Prisoner 
EP Guide, incredible 
Shrinking Man. Rick 
Baker. S20. 

#12 Roddenberry, 
Doug Trumbull & 
Steven Spielberg. 
CE3K. Dick Smith. 

#13 David Prowse. Pal 
on The Time Machine. 
Logans Run EP 
Guide. S5. 

^4 Project UFO. Jim 
Danforth. Saturday 
Night Live Trek. S5. 

#15 Twilight Zone EP 
Guide. Galactica. 
Richard Donner. This 
Island Earth. S5. 

#16 Phil Kaufman. 
Fantastic Voyage. 
InvadersEP Guide. 

#17 Spielberg. 
Roddenberry. Joe 
Haldeman. Ralph 
McQuarrie. S5. 

#18 Empire. Joe 
Dante. Dirk Benedict. 
Richard Hatch. S5. 

#19 Roger Corman. Gil 
Gerard. Star Wars. 
Body Snatchers. CE3K 
FX. S5. 

#20 Pam Dawber. Kirk 
Alyn. Buck Rogers. 
Superman. S5. 

#21 Mark Hamill. Lost 
in SpaceEP Guide. 
Buck Rogers. S5. 

#22 Lome Greene. 
Veronica Cartwright. 
Special FX careers. 

#23 David Prowse. 
Dan O'Bannon. Dr. 
WhoEP Guide. Day 
Earth Stood Still. 

#24 STARLOGs 3rd 
Anniversary. William 
Shatner. Leonard 
Nimoy. S6. 

#25 Ray Bradbury. 
Star Trek: TMP. Thing. 

#26 Ridley Scott. H.R. 
Giger. ALIEN. Gerry 
Anderson S5. 

#27 Galactica EP 
Guide. ST: TMP. 
ALIEN FX. Nick Meyer. 

#28 Lou Ferrigno. 
Wonder Woman EP 
Guide. S5. 

#29 Erin Gray. Buster 
Crabbe. S5. 

#30 Robert Wise. 
Chekov's Enterprise. 
Questor Tapes. 
Stuntwomen. $15. 

#31 Empire. 20,000 
Leagues Under the 
Sea. Chekov's Ent. 2. 


#32 Sound FX LP. 
Buck Rogers & Trek 
designs. Chekov's Ent. 
3. S6. 

#33 Voyage EP Guide. 
Ellison reviews Trek. 

#34 Tom Baker. Irv 
Kershner on Empire. 
Martian Chronicles. 
Buck Rogers. S1 5. 

#35 Billy Dee Williams. 
Empire & Voyage FX. 

#36 4th Anniversary. 
Nichols. Prowse. Glen 
Larson. Yvette 
Mimieux. $6. 

#37 Harrison Ford. 
Terry Dicks. First Men 
in the Moon. S5. 

#38 CE3K. Buck 
Rogers EP Guide. 
Kelley. S5. 

#39 Buck Rogers. Tom 
Corbett. Erin Gray. 
Fred Freiberger. 55. 

#40 Hamill. Gil Gerard. 
Roddenberry. Jane 
Seymour. Freiberger 2. 
Empire FX. S4. 

#41 Sam Jones. John 
Carpenter. S5. 

#42 Robert Conrad. 

Mark Lenard. 
Childhood's End. 
Dr. Who. S6. 
#43 David 

Cronenberg. Jeannot 
Szwarc. Altered States 
FX. Hulk EP Guide. 

#44 Altered States. 
Bob Balaban. S5. 

#45 Peter Hyams. 
Thorn Christopher. 
Escape from NY. S5. 

#46 Harry Hamlin. 

Blair Brown. Superman 
II. G American Hero. 

#47 Takei. Sarah 
Douglas. Doug Adams. 
Outland. S5. 

#48 5th Anniversary. 
Harrison Ford. Lucas. 
John Carpenter. Bill 
Mumy. S6. 

#49 Adrienne Barbeau. 
Kurt Russell. Lucas. 
Takei. 007 FX. 
Raiders. S15. 

#50 Spielberg. Sean 
Connery. Lawrence 
Kasdan. Lucas. Ray 
Walston. Heavy Metal. 
Dr. Who. S50. 

#51 Shatner. 
Roddenberry. Jerry 
Goldsmith. Kasdan. 
Batman. S5. 

#52 Blade Runner. 
Shatner. S5. 

#53 Bradbury. Patrick 
Macnee. Blade 
Runner. S5. 

#54 3-D Issue. Bob 
Culp. Connie Selleca. 
Terry Gilliam. Leslie 
Nielsen. Raiders FX. 
Trek bloopers. S5. 

#55 Quest for Fire. Phil 
K. Dick. Culp 2. Ed 
(UFO) Bishop. 
Trumbull. Trek 
bloopers. S6. 

#56 Zardoz. Triffids. 
Trek bloopers. $5. 

#57 Lost in Space 
Robot. Conan. 
Caroline Munro. Ron 
Cobb. S10. 

#58 Blade Runner. 
The Thing. Syd Mead. 
Trek bloopers. S10. 

#59 The Thing. 
Kirstie Alley. Merritt 
Butrick. Arnold 
Schwarzenegger. S35. 

#60 6th Anniversary. 
Star Trek II. Carpenter. 
Ridley Scott. TRON 

#61 Trek II Pt.2. Walter 
Koenig. Sean Young. 
Road Warrior. S15. 

#62 Ricardo 
Montalban. Koenig. 
James Doohan. Ken 
Tobey. Dr. Who. S5. 

#63. Spielberg. Nimoy. 
Kurt Russell. Rutger 

Hauer. James Horner. 

#64 David Warner. 
Peter Barton. Dr. Who 
EP Guide. S75. 

#65 Arthur C. Clarke. 
Hamill. E.T. FX. Dark 
Crystal. S5. 

#66 Dark Crystal. 
Frank Herbert. Frank 
Marshall. S5. 

#67 TRON. "Man Who 
Killed Spook." Trek II 
FX. S5. 

#68 Octopussy. Never 
Say Never Again. 
Harve Bennett. 
Richard Maibaum. S5. 

#69 Anthony Daniels. 
Tom Mankiewicz. Jedi. 

#70 Man From 
U.N. CLE. Debbie 
Harry. Chris Lee. John 
Badham. S5. 

#71 Carrie Fisher. 
Judson Scott. Dan 
O'Bannon. V. S5. 

#72 7th Anniversary. 
Hamill. Shatner. Roger 
Moore. Bradbury. June 
Lockhart. S6. 

#73 Cliff Robertson. 
Robert Vaughn. Roy 
Scheider. Jason 
Robards. Hamill 2. S5. 

#74 Molly Ringwald. 
Michael Ironside. 
Malcolm McDowell. 
L Semple1.S5. 

#75 Nancy Allen. John 
Lithgow. McQuarrie. 
George Lazenby. 
Semple 2. S5. 

#76 Buster Crabbe. 
Sybil Danning. S6. 

#77 Phil Kaufman. 
Chuck Yeager. Tom 
Baker. Trumbull. S5. 

#78 Ferrigno. Scott 
Glenn. Nick Meyer. 
Arthur C.Clarke. 
Trumbull 2. Lance 
Henriksen. S5. 

#79 Dennis Quaid. 
Kershner. Jon 
Pertwee. David 

Hasselhoff. S5. 

#80 Billy Dee Williams. 
Anthony Ainley. Jedi 
FX 1.S5. 

#81 Alan Dean Foster. 
Fred Ward. Veronica 
Cartwright. Greystoke. 
Buckaroo Banzai. S5. 

#82 Schwarzenegger. 
Max von Sydow. Chris 
Lloyd. Faye Grant. Dr. 
Who. Jedi FX 2. $4. 

#83 Kate Capshaw. 
Robin Curtis. Fritz 
Leiber. Marshall. Dr. 
Who. tf $10. 

#84 8th Anniversary. 
Nimoy. Frank Oz. 
Chris Lambert. Marc 
Singer. B. Banzai. Jedi 
FX 3. V. S6. 

#85 Jim Henson. Joe 
Dante. Jeff Goldblum. 
Bob Zemeckis. Ivan 
Reitman. S5. 

#86 Peter Weller. 
Lenard. John Sayles. 
Chris Columbus. Rick 
Moranis. Jedi FX 4. 

#87 GhostbustersFX. 
Kelley. Prowse. David 
Lynch. 2010. B. 
Banzai. S5. 

#88 Terminator. 
Kelley 2. Keir Dullea. 
V Dune. Gremlins. S6. 

#89 Jane Badler. 

Helen Slater. Patrick 
Troughton. Jim 
Cameron. Irish 
McCalla. Starman. B. 
Banzai. Terminator. S5. 

#90 Scheider. Karen 
Allen. Ironside. Dean 
Stockwell. Pinocchio. 

#91 Koenig. Michael 
Crichton. V. Dune. 
Gremlins. Terminator. 

#92 Carpenter. Tom 
Seileck. Gilliam. Brazil. 
Barbarella. S5. 

#93 Donner. Lithgow. 
John Hurt. Robert 
Englund. Simon Jones. 
Dr. Who. Jedi FX 5. 
M. Python. S10. 

#94 Doohan. William 
Katt. Sayles. John 
Barry. Michelle Pfeiffer. 
V. Jedi FX 6. S5. 

#95 Grace Jones. 
Butrick. Hauer. 

Matthew Broderick. 
Mad Max III. Cocoon. 

#96 9th Anniversary. 
Peter Cushing. Roger 
Moore. Jonathan 
Harris. Tina Turner. 
John Cleese. Cocoon. 
Jedi FX 7. S6. 

#97 Mel Gibson. Scott 
Glenn. Ron Howard. 
River Phoenix. Donner. 
Chris Walken. BTTF 

#98 Michael J. Fox. 
Dante. George Miller. 

Guttenberg. S5. 

#99 Anthony Daniels. 
Zemeckis. "Cubby" 
Broccoli. Mad Max. S5. 

#100 Lucas. Nimoy. 

Harryhausen. Ellison. 
Roddenberry. Irwin 
Allen. Nichols. 
Cushing. S6. 

#101 Ellison. Ridley 
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LtDGtit^ (S©0 


For those who 

survive after the 

world ends, life may 

not be worth living. 



STARLOG/November 1995 27 

The Cold War. The Big One. Shoes 
banging on desks. B-52s in tight forma- 
tions over the Arctic. Sinister fingers 
poised over buttons which could launch 
multi-megaton death over any and all Ameri- 
can 'burbs. Kids with Davy Crockett lunch 
boxes leaping under school desks every time 
a delivery truck backfired. A bumper crop of 
backyard fallout shelters and row upon end- 
less row of bottled water and canned pork 
and beans. As George Kaplan summed up in 
Hudson Hawk (1991): "The Red Threat. Peo- 
ple were scared, the [CIA] had some respect 
and I got laid every night." 

Science fiction was quick to understand 
and exploit this new situation as in Septem- 
ber 1949, the then-USSR exploded its first 
atomic bomb and concluded the American 
monopoly on weapons of 
mass destruction. The public 
was still vague on nuclear real- 
ities. It was one thing to be 
aware of a few super-bombs 
which brought about a war's end. 
But as the Bomb was acquired first 
by the Russians, and then by other 
nations, the world gradually 

in 1964). General Sir John Hackett's The 
Third World War and movies such as 1991"s 
Until the End of the World discussed the 
option of only a few atomic explosions tak- 
ing place. The consensus among these stories 
limited the catastrophe to the immediate tar- 
get. Life in such a world generally assumed 
its previous dimensions, and the greatest 
amount of fallout appeared to be social and 
political, rather than 
radioactive. The few 
exceptions to this 
scenario, such 
as 1965's 
Crack in 

Add to this the probable elimination of 80 
percent of the world's available physicians 
and the suggestion of humanity's survival 
seems to stretch into fantasy. Indeed, as 
shown in Nevil Shute's On the Beach (filmed 
in 1959), Carol Amen's story "The Last Tes- 
tament" (filmed as Testament in 1983) and 
Raymond Briggs' When the Wind Blows 
(filmed in 1988). even those few survivors 
remaining after a war would find them- 
selves gradually spiraling 

was not going 
to stop at just 
and Nagasa- 
ki. It was 
possible that 
other cities- 
even our own 
homes — could end 
up obliterated in 
a single instant. 
For the creators 
of SF. sitting on 
the edge of the 
Space Age. another 
new frontier was opening up. A new alien 
vista had appeared much closer than the 
Moon or another planet, and all of it made 
entirely possible by the mere press of a but- 

Apocalyptic Aftermaths 

Even now, scientists and other experts are 
still debating as to what sort of world would 
follow in the wake of an exchange of nuclear 
weapons. In science fiction, the discussion 
has been equally wide-ranging. Books such 
as Harold Coyle's Team Yankee, Eugene Bur- 
dick and Harvey Wheeler's Fail-Safe (filmed 

tary Correspondent, explored time-lost 
romance in issue #207. 

the World and 1962's The Day the Earth 
Caught Fire, had their explosions happening 
at the wrong place and wrong time, and life 
on Earth became, to paraphrase Thomas 
Hobbes, brutal, nasty and short. 

The majority of stories have confronted 
the reality of nuclear proliferation. The total 
number of existing nuclear warheads at the 
height of the Cold War could perhaps never 
be fully known but, by the early 1980s, there 
were at least 50,000 bombs scattered across 
Earth. A study made during that time, by the 
International Physicians for the Prevention of 
Nuclear War. estimated that an all-out 
exchange between the United States and 
Russia would have resulted in more than 200 
million deaths and 600 million injuries, with 
over half of those due to radiation exposure. 

towards inevitable extinction. 
Then, there's also the threat 
of chemical and biological 
weapons. The missile carrying an 
H-bomb could just as easily have been 
replaced by a single man carrying a vial of 
some lethal virus, such as in Alistair 
MacLean's The Satan Bug (filmed in 1965) 
or K.R. Dwyer's Dragonfly. These could be 
released purposefully, designed to kill all but 
a select group. Then, there are such stories as 
Stephen'King's The Stand (recently filmed 
for television), or the Terry Nation TV series 
Survivors. In these tales, the majority of the 
world's population is wiped out not on pur- 
pose, but by the accidental release of germ 

If an author presumed that a fraction of 
the population could survive through such a 
holocaust, it was usually due to of some 
unique agency. The families of 1962's Panic 
in Year Zero and 1956's Day the World 
Ended, as well as the people who populated 

28 STARLOG/November 1995 

TV's Whoops, survived the atomic war by 
virtue of living in a shielded valley. The sur- 
vivors of 1980's Virus escaped its effects by 
remaining within the protection of Antarcti- 
ca's frozen environment. In 1960's The Last 
Woman on Earth, the title character and two 
male companions happened to be skin-diving 
when the bombs fell. In Rod Serling's Twi- 
light Zone episode. "Time Enough at Last." 
bank teller Burgess Meredith finds that his 
trip to a well-made vault gives him plenty of 
free time to catch up on his reading, if only 
he could. An engi- 
neer, trapped at the 
bottom of a col- 
lapsed mine in 

ernments and other controlling bodies are 
wiped out. Global communication no longer 
exists. Medical facilities 
and working modern tech- 
nology is sparse at best. 

Step Two: Individual 

Survival. Anyone who 

has survived The End 

can now only make it 

| 1959's 

S The World, the 
Flesh, and the 
Devil, escaped 
humanity's fate 
when toxic 
isotopes were 
released into 
the atmosphere. 
In David Gra- 
ham's Down to a 
Sunless Sea, passengers in 
pressurized aircraft found 
themselves escaping nuclear anni- 
hilation. At a much higher altitude were the 
survivors of Thomas Scortia's Earthwreck, 
which reduced humanity to those living on 
board orbiting space stations. 

In earlier stories of the Atomic Age. such 
as Philip Wylie's Tomorrow, or Pat Frank's 
Alas, Babylon, nuclear war occurs world- 
wide, but the devastation is generally limited 
to the cities which received direct hits. As 
advances were made in increasing the power 
and effectiveness of weapons, the idea of safe 
havens away from the blast area began to 
fade, and stories such as On the Beach. Testa- 
ment, 1962's The Final War or Peter George's 
Red Alert (the basis for 1964's Dr. 
Strangelove) announced that there was no 
hiding place. Or, as a protest poster from that 
time stated: "The Next War will not deter- 
mine what is Right, but what is Left." 

Seven million Americans perish during a 
nuclear war in Whitley Strieber and James 
Kunetka's Warday, while millions more 
begin to die thanks to the after-effects. In 
Barry Hines' Threads (filmed in 1985), 
nuclear war between the East and West 
results in 3000 meaatons worth of bombs 

being exploded. The blasts throw 
1500 million tons of debris into the 
atmosphere, gradually shielding the 
Earth from the warming effects of 
the Sun. The nuclear winter arrives 
and, within 20 years, humanity is 
well on the road towards eventual 
extinction. The prognosis from Peter 
Watkins' The War Game (filmed 19 years 
earlier). 1983's The Day After or 1951'sF/ve, 
turned out no better. The sight of people actu- 
ally up and trying to keep their lives together 
following the War had the potential to cheer 
audiences up. but the surrounding images of 
the new world begged the question of just 
how long the people would last after the end 
credits had rolled by. 

Survival Scenarios 

If it's presumed that there would at least 
be a handful of survivors following The End. 
what sort of world would emerge? In many 
stories on the subject a common pattern 
seems evident. 

Step One: Disaster. A catastrophe man- 
ages to eliminate at least half of the human 
race within days. These are the scenes which 
make up the flashbacks and dream images in 
1991's Terminator 2: Judgment Day, or 
197 l's The Omega Man, as well as what 
occurs in books such as Alas, Babylon, War- 
day, Ralph Peters' The War in 2020, or in 
films like Five or 1988's Miracle Mile. Gov- 

through the following weeks depending upon 
the conditions of the surrounding environ- 
ment. In The Stand and Survivors, these peo- 
ple were limited to those who had been 
immune to the virus weapons In Threads, 
Testament, On the Beach and in books such 
as Robert Merle's Malevil, survival on this 
scale was limited to those who were far away 
from the blast sites. Note that survival at this 
point does not guarantee survival for the 

Step Three: Breakdown. After WWIII, 
World War IV will break out in tiny spots 
throughout the world. Although possibly 
existing before the first step (or even con- 
tributing to it), the gradual reality soon settles 
in that the standard systems for maintaining 
law and order are no longer operating. In 
areas containing more than a few survivors, 
the potential for violence is high, especially 
if resources are limited. Examples here 
include 1982's The Road Warrior and its 
many imitators, Harlan Ellison's A Boy and 
His Dog (filmed in 1975), William Golding's 
Lord of the Flies (filmed in 1963 and 1990), 
John Christopher's No Blade of Grass 
(filmed in 1970) and The Ultimate Warrior 

Step Four: Seignorialism. If small groups 
of survivors exist, then some sort of leader- 
ship begins to emerge. This usually takes the 
form of an individual possessing either enor- 
mous charisma, strength or both. Such an 
individual will establish a small group of fol- 
lowers whose job it will be to maintain what- 
ever order and discipline the leader demands 
from the community. This leader can be 
benign, such as Senator Jellison in Larry 
Niven and Jerry Pournelle's Lucifer's Ham- 
mer, or corrupt and dictatorial, such as The 
Boss in Things to Come (1936) or just plain 

STARLOGMfovemfcer 1995 29 

evil, as with The Road Warrior's Lord 

Step Five: Consolidation. Surviving 
groups, isolated from whatever other 
groups might exist, begin developing 
their own laws and customs. It's pos- 
sible that such groups might even 
try to maintain the order which 
had passed away, as did the 
inhabitants of the ""downunder" 
in A Boy and His Dog. In 

Mordecai Rosh- 
wald's Level 7. the 
survivors are the very 
people who launched 
the nuclear missiles in 
the first place. As 
Charles Runyon remarked in Pig- 
world: "Civilization would be carried on by 
the same people who destroyed it." Other 
examples include such immediate ones as 
found in Frank's Alas, Babylon, or long-term 
versions, as in 1958's Teenage Caveman. 

Step Six: Communication. If enough sur- 
viving communities exist, then contact 
between them is a distinct possibility. The 
longer that individual communities remain 
isolated and apart, the greater the chance that 
their meeting will be one between two com- 
pletely separate cultures, with the possibility 
of a stronger and more aggressive culture 
absorbing or destroying the other. In any 
case, contact at this point determines the 

future course 
for either com- 
munity. Examples 
here include Patrick 
Tilley's Cloud Warrior, 
Sterling Lanier's Hiero's 
Journey, Andre Norton's 
Star Man 's Son (a.k.a. Day- 
break 0000 A.D.). David 
Brin's The Postman, the 1974 
Sean Connery starrer Zardoz, 
1987's Steel Dawn, the Twi- 
light Zone episode "The Old 
Man in the Cave" and Mad 
Max Beyond Thunderdome 
Step Seven: Feudalism. Com- 
munities begin consolidation, and 
attempts are made to gradually 
replace the city-states with 
nations. In Things to Come, the 
attempt is made by the orga- 
nization Wings Over The 
World. In both Genesis II 
(1973) and Planet Earth 
(1974), the organization is 
known as Pax. In John Broome's classic 
"Atomic Knights" stories for DC Comics, the 
effort falls to the title characters. In the CBS 
TV series Ark II, a group of scientists send 
out experts armed with superior technology. 
Step Eight: Second Humanity. Earth is 
dominated by a family of new nations. These 
may or may not remember the societies 
which existed before the catastrophe, and 
their language and customs might well be 
alien to anyone from our time. Examples 
include Norman Spinrad's Songs from the 
Stars, the DC comic Hex, Poul Anderson's 
Orion Shall Rise, Vaughn Bode's Cobalt 60, 
A.M. Lightner's The Day of the Drones, 
William Nolan and George Clayton's 
Logan's Run (filmed in 1976), Walter M. 
Miller Jr.'s A Canticle for Leibowitz and 
Richard Cowper's Phoenix. Societies 
reduced to barbarism included those depicted 

in Captive Women (1952) and 
Teenage Caveman. 

Future Fears 

None of the above steps 
are locked into a set sched- 
ule. Some may even overlap. 
Any of them may be affected 
by a variety of factors. The future 
of Survivors, for example, has a more 
benign environment to offer its people 
than that of Testament, where the inhabi- 
tants can measure their remaining time 
in months, or even days. Other things to 
consider are the total number of sur- 
vivors, especially viable females. The 
communities which spring up in Star 
Man 's Son, although hurled back to the 
equivalent of the Bronze Age, certainly 
have more of a chance of re-creating the 
human race than the people in Five. 
Environment, the level of surviving 
technology, the survival of trained indi- 
viduals — all of these combine to deter- 
mine how long each step will last. In Mad 
Max Beyond Thunderdome, the inhabitants of 
Bartertown can clearly remember the world 
which has passed on. The level of surviving 
technology and skills within their communi- 
ty, although strained by the lack of engineers 
and technicians, would be recognizable to 
anyone from before the catastrophe. The 
chance for complete reconstruction within a 
few centuries seems possible. The post-war 
community of Everytown. in Things to 
Come, is clearly losing the battle to restore 
Technical Man. only to find that the Airmen 
have maintained a strong hold. In Teenage 
Caveman, where the final war was obviously 
much worse, many centuries have passed and 
the survivors are still scrabbling about in a 
Stone Age-type culture. 

But there is the possibility that, as in On 
the Beach, the catastrophe will finish the 
human race. In Dr. Strangelove. a notebook 
on General Buck Turgidson's desk calmly 
DEATHS: testimony to the knife edge we 
live on. In "There Will Come Soft Rains," 
Ray Bradbury writes of a future where our 
homes stand unoccupied, our beds unslept in, 
our poems no longer listened to. The only- 
remnant of humanity are the shadows on the 
walls left by the people who were incinerated 
where they stood. 

Would Earth remain uninhabited should 
Mankind turn out to be just another historical 
footnote? Perhaps, as with the dinosaur, we 
were simply meant to be nothing more than 
another temporary tenant. And, just as we 
succeeded the dinosaurs, perhaps something 
new would eventually come along to assume 
dominance. Planet of the Apes (1968) and its 
sequels reduced the human race to an animal 
pest, and raised a new breed of walking apes 
to replace the earlier, less hairy model. Jack 
Kirby's Kamandi upped the ante and added a 
literal menagerie of intelligent creatures. In 
Vaughn Bode's stories of the "Bode 
Machines," Earth's surface is ruled by war 
robots locked in endless combat. In Wizards 
(1977). millions of years pass after the final 

30 STARLOG/November 1995 

war before Earth becomes inhabited once 
again, this time by elves and fairies. 

Or maybe the final catastrophe would 
prove too much, and even life itself would 
become an abstract concept. Then, we're 
faced with what evidence could possibly 
remain of our ever having been here. The 
results of such speculation have provided 
perhaps the richest source of irony. In "Histo- 
ry Lesson," Arthur C. Clarke allows Walt 
Disney to have the final laugh. On one occa- 
sion, while "On the Road" with CBS. Charles 
Kuralt opined on how it was entirely possible 
that the last evidence of the human race 
would be a tattered sign at the edge of a 
crumbling highway. The sign would read 

Eventual Endings 

In The War of the Worlds, H.G. Wells had 
his hero wandering through the deserted 
streets of London, tormented with the 
thought that he was the last man alive. Before 
Wells was Mary Shelley who. in The Last 
Man, wrote of the single survivor of a global 
plague, and of his journey through an empty 

One of the simplest, yet most powerful 
scenes of any post-apocalyptic story has • 
involved the single survivor wandering 
alone through the remains of the world. 
In The World, the Flesh, and the Devil, it 
was the sight of Harry Belafonte pulling 

casually driving through the empty streets of 
Los Angeles. In both cases, each man was 
striving to destroy the "vampires" that infest- 
ed the enviroment while, in each case, the 
reality of their world clawed at their souls. 

The lone astronaut in Robinson Crusoe on 
Mars (1964) openly admitted to the pressure 
of being marooned on an alien planet. But the 
problem wasn't with the location. For each 
single survivor of a catastrophe, the greatest 
enemy is not the environment, the question 
of food or the odd thumps at night. To our 
human perspective. Earth is not a location, or 
a solid piece of ground beneath our feet. 
Earth is the sound and touch of other living 
people. It's possible to try and drive away the 
problem by surrounding yourself with opu- 
lence and comfort, such as with Matheson's 
hero, or with the heroine of the French comic 
book La Survivante, installing herself within 
a luxurious Paris hotel. But every moment 
brings the risk of facing the reality of never 
again having other people about, and such 
total absence can either transform man into 
animal, or ultimately kill him. 

a lonely wagon down the empty streets of 
New York City, the buildings yawning up 
silent on either side. Richard Matheson's 
novel I Am Legend is filled with images of its 
protagonist moving through the daylight 
streets of a dead city. In its first film version. 
1964's The Last Man on Earth, it was Vin- 
cent Price wandering about the corpse-lit- 
tered streets and sidewalks. Seven years later, 
it was Charlton Heston in The Omega Man, 

Perhaps there are even worse things than 
solitude to consider. The ad copy for The 
Omega Man stated that "The last man on 
Earth is not alone." There's also the Forrest 
Ackerman chestnut about the last man on 
Earth sitting alone in a room when, suddenly, 
there's a knock at the door. If the tenancy of 
man comes to an end, then perhaps it 
becomes the destiny of the last remaining 
example to close up shop, then quietly sit and 
wait for the next occupants to arrive. Which 
would be worse: to perish alone, or to live 
long enough to face your replacement? 

We've accustomed ourselves to celebrat- 
ing the end of the Cold War and believing 
that, overall, the threat of a global catastro- 
phe has been reduced. But the operative word 
here is reduced as opposed to eliminated. 
Even now there is still concern about nation- 
al programs to produce weapons of mass 
destruction. Regardless of whatever diplo- 
matic progress is achieved, the simple reality 
remains that the existence of such a weapon 
presents the possibility of it being used some- 
day. Fifty bombs, or 10. or five, or one... does 
it really make that much of a difference? 
Despite the changing world situation, has 
anything really changed? Or have old threats 
simply been placed into new hands? All the 
stories and films have presented visions of 
worlds which, despite the fascination they 
generate, assume the dimensions of Hell. 
Some of them produce paths which possibly 
lead to cleaner and better civilizations down 
the line, but only at the cost of enormous suf- 
fering. No matter how pastoral the new world 
might seem, the story which frames it still 
asks if such an Utopia is worth the agony of 
global murder? 

Audiences were horrified and sobered 
at the sights of The War Game, Testament, 
On the Beach and The Day After. But the 
new world still lingers at our doorsteps. 
It's still only a press of a button away and, 
so much more so than before, we're less 
sure about whose finger is poised above it. 
There's a signpost on the road up ahead, 
and it just might read 
"Hamburgers." -^ 

STAKLOG/November 1995 31 



Iovies that explore 
cyberspace have no 
qualms about plac- 
ing hardware at center stage 
and the humans in quasi-sup- 
porting roles. In many of these movies, the 
heroes are androids: in the better ones, they 
even have emotions. But all this isn't quite 
enough for Kathryn Bigelow, a filmmaker 
who has consistently manifested her own 
dazzling visual style in thrillers such as Near 
Dark, Blue Steel and Point Break. In her 
work, she constantly explores the abyss 
between reality and illusion, between true 
sentiment and masquerade, and between the 
objective and the subjective. 

Bigelow's new futuristic noir thriller 
Strange Days, written by Jay Cocks and 
James Cameron (Bigelow's former husband 

DAN YAKIR. veteran STARLOG correspon- 
dent, profiled Kurt Russell in issue #211. 

32 STARLOG/November 1995 



eart in cyberspace. 

heart, and what 
the film is say- 
ing is that heart 
and feeling will 
endure. Lenny 

and veteran genre director), is set in a deso- 
late Los Angeles 48 hours before the advent 
of the next millennium, but its characters 
have little in common with the almost zom- 
bified protagonists of such movies as Blade 
Runner and Total Recall. Instead, the hero, 
Lenny Nero (Ralph Fiennes). will survive the 
old century thanks to neither brawn nor 
brains — but rather because of his emotions. 

Despite the fact that Nero is a seller of 
black market computerized personal experi- 
ences — actual memories and experiences 
recorded from the brain cortex of individuals 
and peddled to others for amusement and a 
touch of "virtual reality" — he isn't a dried- 
out, hopeless heel who can't be surprised 
anymore. According to Bigelow, "he has a 

retains his capacity to feel and so does Mace 
[Angela Bassett],'' a security agent and per- 
sonal friend to whom he turns when the heat 
is on. While most post-apocalyptic night- 
mares show the survival of the strong, in this 
pre-apocalyptic landscape, it's strength itself 
that's redefined. "The strong," says Bigelow. 
"are the ones who have heart." 

Slick and sleazy, handsome and charm- 
ing, Lenny is an ex-L.A.P.D. vice squad cop 
who makes a living on the edge, hustling 
semi-legal life experiences. These SQUIDs 
(Superconducting Quantum Interference 
Device recordings) enable their users to 
experience exactly what they wish. They can 
be bank robbers, gender benders, sexual out- 
laws — whatever. And the experience is as 

real as if they themselves have gone through 
it. As Mace says to Lenny, "Face it. you sell 
porno to wireheads." When one of his associ- 
ates is brutally murdered and Lenny witnes- 
ses her death via the killer's recording, he 
starts hunting for the assassin, which gives 
the movie its quota of action thrills. 

What exactly made this project attractive 
to the filmmaker? "I thought Strange Days 

Near Dark Photo: Gary Farr/Copyright 1987 D.G.E. 

was an incredibly clever, great concept," 
enthuses Bigelow. "It's a truly multi-layered 
project that operates on many levels. The 
way I see it, it's the story of a character who 
is quite unusual, somebody who has great 
feelings yet functions in a world that's cyni- 
cal and devoid of feeling, and it's his ability 
to keep his emotions alive in this environ- 
ment that is the genesis of his redemption. 
The environmental landscape is 
LA at the turn of the century, cul- 
minating in New Year's Eve 

Strange Style 

The SF component is one of 
the movie's most obvious ele- 
ments, and Bigelow finds it a 
helpful tool to convey her vision. 
"Its great strength is its ability to 
comment or extrapolate on many 
current social 
without being 
ing or con- 
demning," she 
explains. "It's 
inherently a 
comment on 
society and its 
form. It's a genre that enables you 
to go quite far, serving as a social 
tool. That's very important to me." 
While Bigelow herself isn't 
actually expressing her own night- 
mares about a bleak future in this 

In a near-future filled with 
violence and borrowed 
emotions, Ralph Fiennes' 
Lenny Nero struggles to 
maintain his true feelings 
during these Strange 

"It's the story of a character who is quite 
unusual, somebody who has great feelings 
yet functions in a world that's cynical and 
devoid of feeling," says director Kathryn 

film, she is nevertheless concerned about the 
serious socio-cultural situation in which we 
find ourselves. Strange Days, she says, "has 
a fairly grim view which is not an unrealistic 
extrapolation if nothing is done to correct 

STARLOG/November 1995 33 

beautifully lit universe, very luminous, a noir 
with plenty of light in sharp contrast. But it 
doesn't shy away from color, offering very 
rich-looking photography. It's a color version 
of strong, rich black and white. 

"For example, to create New Year's Eve 
1999, we have an outdoor block party with 
literally hundreds of thousands of people, 
and we have these huge video screens that 
project the event as it takes place around the 
world — in Prague, Moscow. London, Ma- 
drid. Vietnam, Kenya — it has a lot of scope." 

Strange society 

Despite its spectacular style. Strange 
Days focuses on a few individuals. More- 
over, the nature of experiencing somebody- 
else's personal life is very intimate. It's also 
voyeuristic, even perverse, begging the ques- 
tion: Have we become just absorbers of input 

rather than individuals who can live our own 

"That's a very interesting question," says 
Bigelow. "That, in a way, is the premise the 
film operates on. As our environment and 
society creates a gap between our ability to 
have a genuine experience and the risks that 
that creates, we still need to have the stimula- 
tion of that experience in some other way — 
vicariously or through cinema or literature, 
or in this case, through actually living or 
experiencing somebody else's life for a few 
minutes or hours, recorded directly off the 
cerebral cortex. 

"It's based on a culture, not unlike our 
own, that likes to watch — but is also 
watched. It's a watched society that feeds off 
the need to see other people lives. It's an 
escape that prevents people from having 
experiences of their own. It's kind of a drug 

things in a social environment that's threat- 
ened, a social fabric that's breaking apart. It's 
a real threat, a real concern — the state of our 
society, culture, education and race relations. 

"Max [Tom Sizemore], a cynical sage and 
another pal of Lenny's who is also an ex-cop, 
asks how we're going to make it for another 
thousand years. He says, "We've used it all 
up; every government has been tried; every 
hair style has been tested: every bubble gum 
has been sampled.' " 

When she had to zero in on the look and 
texture of the future depicted in Strange 
Days, Bigelow was "aware of Total Recall 
and Blade Runner," and "sensitive to the 
visuals they established. But this is not so far 
into the future," the director points out. "The 
reach is not so great, and in some ways, it's 
more insidious, because it feels much more 
immediate — we create a world that feels very 
much like today, only more so. Those movies 
were more of a fantasy, reaching into the far 
future, whereas mine is a hyperkinetic, dark- 
er version of today. The level of realism is 
perhaps what makes it most unique. It's a 
future that we're almost living in." 

To conceive this future — our universe in 
less than five years' time — "you take what 
we have now and what's breaking down in 
society, and compound it in a half a decade's 
span — and the way to do that is to look back 
five years and ask, 'What's the difference in 
the past five years?' The answer is: comput- 
ers, cellular phones, etc. The creation of a 
flashpoint society. I'm really keen on looking 
back to the past in order to look ahead." 

The movie looks dark, yet somehow 
bright at the same time. "It all takes place at 
night," explains the director. "We shot five- 
and-a-half months at night. Near Dark was 
also shot at night and was a relentlessly dark 
landscape. I really enjoyed shooting at night 
and I was prepared for it. Strange Days has a 
dark feel in content but not in look — it's a 

34 STARLOG/November 1995 

"She's like a backbone, 
the moral fiber that Lenny 
relies on and requires in a 
world devoid of that kind 
of strength," Bigelow says 
of Mace. 

metaphor as well. And using the 
medium of film and its power — 
film as a great social tool — as a 
vehicle through which the story 
is told is yet another whole 

Since the SQUID experiences 
are the film's main metaphor, it's 
crucial that they be expressed in 
a way that distinguishes them 
from the rest of the narrative. 
Instead of giving these images a 
hazy or monochromatic look. 
Bigelow opted for a 
subjective camera. 

"They're very, 
very experiential, 
solid points of 
view — there's no 
objective camera 
whatsoever." she 
explains. "We had 
to build a camera 
for these effects. 
There was nothing 
that existed that 
could enable us to 
mechanically cap- 
ture it. It's a very 
small camera and it 
gave us the light- 
ness and versatility 
to do these extraor- 
dinarily diverse and 
highly choreo- 
graphed takes. 

"There's the sequence that opens the film, 
in which you get out from the back of a car 
and into the back of a restaurant. You hold 
other people at gun point and rob the cash 
register and run back, while all the people 
inside a freezer locker realize the police are 

"What the film is saying 

is that heart and feeling 

will endure." 

there. One of your buddies runs outside and 
into certain death, and we — with the police 
officers giving chase — decide to escape and 
run up seven flights of stairs to the roof, 
where a police helicopter is already hovering 
above us and shining one of those xenons 
down on us and we're running on the roof, 
jumping onto another rooftop, not making it. 
I won't tell you the end." 

Strange Sequences 

Shooting those sequences with a subjec- 
tive camera lends them the feeling of "real 
life," and the use of the 2:35 aspect ratio 
allows "far more peripheral vision in these 
sequences than another aspect ratio would 

Since the filmmaker insists her picture is 
about character, why didn't she use the more 
intimate 1:85 format? "I'm really drawn to 

Tom Sizemore 
portrays Max 
Peltier, a cynical 
but wise ex-cop 
friend of Nero's. 

the 2:35 format for the scope it gives 
you. It's a beautiful frame that enables 
you to create exquisite choreography," 
says Bigelow. 

Given the film's scope and design, 
some technical challenges seemed like- 
ly to loom up on the set sooner or later. 
But Bigelow considers "character and 
performance" to be the major challenge 
at hand. "I was blessed with the great- 
est actors working in the business 
today," she says, smiling with pleasure. 
"That, to me, was the most inspiring 
component of the film. 

"Ralph Fiennes is amazing, and the 
beauty of him playing a character like 
Lenny Nero is that it's a real departure, 
just as his characters in Schindler's List 
and Quiz Show were very different 
from all of his previous characters. 
It allows you to have an actor who 
comes to the role with very few pre- 
conceptions. He hasn't played this part 
before, which created a virgin territory. 
For a director, that's pure gold. Ralph's level 
of depth, complexity, and intuitive interpre- 
tation of character is breathtaking. He's 
exquisite — a perfect collaborator. He gives 
the material all a human could. He enhanced 
what was in the script, giving it a kind of 
heart and vulnerability and strength of pur- 
pose that I find very rare. 

"Angela Bassett, too, is one of a kind. The 
minute I read the script I was only thinking of 
her for the part, and luckily she loved it and 
wanted to play it. She also has so much heart 

and a tremendous strength that she brings to 
the screen. She's like a backbone, the moral 
fiber that the Lenny relies on and requires in 
a world devoid of that kind of strength. 

"And Juliette Lewis, who plays a rock 
singer, is fearless. She's an actress who truly 
works with tremendous courage. She's also 
someone I wanted to work with — very talent- 
ed and extraordinary. She actually sings in 
the movie. I didn't have to lip-synch her. 

"All in all," Kathryn Bigelow concludes, 
"I was incredibly lucky." J»- 

STARLOG/November 1995 35 

Fleeing from Cylon 

tyranny, Battlestar 

Galactica returns in 

a new comics 



attlestar Galactica is traveling the uni- 
verse once again, thanks to Rob 
'Liefeld's Maximum Press. Based on 
the 1978 SF-TV series, the new comic book is 
getting the massive warship and its ragtag 
fleet of human refugees out of dry-dock and 
all tuned up with old and new faces on board. 
Although some comics fans might be sur- 
prised to learn that the co-founder of Image 
Comics is transforming a '70s TV show into a 
comic book, Liefeld has always been a Bat- 
tlestar Galactica fan. For him, the decision to 
do the comic book was easy. "The licensing 

possibilities were just wide open." he 
explains, "and I thought I could do something 
with it. Frankly, no one was interested in 
Galactica's rights and they had been lying 
dormant. I got the rights more than a year- 
and-a-half ago and decided to sit on them for 
a while. With all of the attention on the SF 
genre again, I really felt it was a good acqui- 

"Many older fans might call Battlestar 
Galactica a cheesy knockoff of Star Wars, but 
not me and my generation. It was an exciting 
show with the best FX ever produced on tele- 

vision. It was a great, classic story of the 
Colonials fleeing the Cylon Empire while 
searching for Earth. The show had a great 
deal of untapped potential. As a fan, I always 
wanted the answers to many questions, and 
now I'm in the enviable position of being able 
to answer some of those questions!" 

Liefeld hopes to attract fervent Galactica 
fans to the comic book, as well as newcomers 
who've never actually seen the show. "We 
approached the property by asking what we 
could do to excite the show's fans. So many 
times, I think people forget to please the loyal 

36 STARLOG/November 1995 

fans, and everybody I've talked to has said, 
'Oh, that's exactly what I wanted to see 
done!' On the other hand, how do we grab 
new fans? We had the challenge set out for us. 
But I think these are good stories, and if we 
can tell good stories, there's a lot of cool stuff 
we can do." 

Besides indulging his enthusiasm as a fan, 
Liefeld is reaping several benefits with Bat- 
tlestar Galactica. "This is really a comic I'm 
doing because it's a nice way to get into 
licensed books, and because the opportunity 
was too good to pass up!" he laughs. "The SF 
stuff is really beginning to take off, so we 
potentially have something that will do well 
for us, and at the same time, really put a smile 
on our faces." 

burned-out guy with 
some demons inside." 

The new comic-book version of Battlestar 
Galactica, which will include both old and 
new characters, begins several years after the 
TV show ended, and disregards the Marvel 
Comics Battlestar Galactica comic book 
series that ran from 1979-81. "Since the show 
has been off the air about 16 years, we'll pick 
it up 16 years later," explains Liefeld. 'The 
characters have aged 16 years. Some of them 
have children, some have died and some of 
their responsibilities and roles have changed. 
We open on page one with Adama on his 
deathbed, and pick things up from there. 
Earth is in their sights — we're completely 
ignoring the Galactica 1980 stuff. Apollo's 
adopted son Boxy has grown into manhood 
now, and several other characters also have 
offspring. Many of the ships have been lost 

"They're much more powerful 
and their reach has extended," 
Liefeld says of the humans' 
mechanical enemies the Cylons 
nd their turncoat ally Baltar. 

STARLOG/November 1995 37 

Some fans will be happy to note that the Galactica comic 
rewrites the events of Galactica 1980, bringing the colonials to 
Earth for the first time— again. 

because of the burden of traveling that great a 
distance. The series begins by calling them a 
ragtag fleet, and this is a ragtag fleet of a rag- 
tag fleet! These are the last remnants, and 
Earth is right before them. The Cylons are 
still around — they're much more powerful 
and their reach has extended." 

Although one of the TV series' most 
important plot points was the search for 
Earth, Liefeld is resolving it quickly in the 
comic series. "When I first took this on, I 
said, 'We can't have them always searching 

for Earth.' because that was their whole goal. 
We needed to address that, so in our first story 
arc, they discover Earth. What they find, what 
awaits them there, and all the ramifications 
are surprising, especially with the Cylons 
close behind. I think it's pretty cool." 

warriors' Return 

The comic series is also reviving some 
supporting characters. "We bring back some 
other TV characters, like Count Iblis," says 
Liefeld. "I think the two most popular 

episodes of Battlestar Galactica were 'War of 
the Gods,' which featured Count Iblis [played 
by Patrick Macnee], who is this Lucifer-like 
figure, and 'The Living Legend,' which had 
Lloyd Bridges as Commander Cain. We 
rediscover the Battlestar Pegasus, which was 
Commander Cain's ship. It's stuff that, if I 
was a fan, / would want to see!" 

Liefeld admits that even if Galactica isn't 
currently a hot property, he thinks it can still 
find its own niche. "We're having a good 
time, and hopefully, people will respond to 
it," he says. "We're quietly very excited about 
it. I didn't want to go out and hype the crap 
out of it. I wanted to quietly produce a comic 
book that people will pick up. I don't expect it 
to be highly ordered. Again, it's not some- 
thing that I went out there thinking was going 
to go gangbusters — I knew it was a risk, but I 
think comics shops are going to under-order 
it. and hopefully will be interested enough to 
come back, and we'll see increased orders." 

The Battlestar Galactica comic is being 
done for Liefeld's new Maximum Press 
imprint, rather than his own Extreme Studios 
division of Image Comics. "Image Comics 
just happened — we didn't really build a com- 
pany, it just appeared and was very success- 
ful," the artist explains. "Maximum Press was 
created to build a company. All of the titles 
that we're doing are seeing significant sales 
increases. It's something that started out slow, 
but we're finding an audience for all of the 
different books, and I'm sure that Galactica 
will be no exception." 

This new line of books includes Avenge- 
lyne. co-created by former Vampirella model 
Cathy Christian, and Law and Order, based 

They're older and in some cases wiser, but all the 
central characters from the show are back. 


38 STARLOG//Vovem/?er 1995 

on the team introduced in Extreme #0. "Max- 
imum Press was supposed to start quietly; we 
didn't go out and try to bang anybody's door 
down to get press coverage," says Liefeld. 
"Many of our books have built word of 
mouth — we have sword-and-sorcery stuff, 
we have wacky comics, science fiction, fanta- 
sy titles — it's not a superhero line, and some- 
thing like that is harder to sell, but the payoff 
is great if you get it right. Many of the recent 
success stories in comic books have been 
through word of mouth, that people just dis- 
covered them and told their friends. That's the 
strongest way to build a career or a compa- 

In addition to the return to Earth in the 
first story arc, several tales have already been 
plotted out for the Battlestar Galactica 
series. "We have a year's worth of stories so 
far, about three major story arcs." reveals 
Liefeld. "The first one deals with the entire 
cast and crew and their discovery of Earth. 
The second story arc deals with Starbuck. 
Starbuck and Apollo were always very good 
friends, and although their friendship is still 
intact, there's some distance between them 
because of what they've both become. Apol- 
lo has had to assume much more of the com- 
mand of the fleet to fill his father's shoes. 
Starbuck has always been more of a maver- 
ick who shot from the hip, and he has gotten 
a little edaier as he has gotten older, because 

he realizes he hasn't settled down with any- 

"Starbuck was the hot-shot pilot for the 
Colonies, but there are no more Colonies — all 
there is a spaceship wandering through space, 
and he's burned out. They're not so sure they 

"We're just going with 

what was cool and 

throwing out what 


want him in the cockpit of a Viper and flying 
out into space. His recklessness was always a 
concern, but now it has gotten totally out of 
hand. He also has more of a bitter edge right 
now, and we' 11 explore how he comes out of it 
and what he discovers. He's an incredible phi- 
landerer and has never settled down. Apollo 
has assumed the mantle of leadership and 
responsibility; Boomer and his other friends 
have taken on leadership roles too, but Star- 
buck's just a burned-out guy with some 
demons inside. 

"The second story arc dwells more on 
that, but there's also a life form brought 
aboard the Galactica that turns out to be a 
Cylon version of the Terminator. The Cylons 

The journey to Earth is over, reveals 
Liefeld. "What they find, what awaits them 
there, and all the ramifications are 

have built a Cylon that can assimilate ever}' 
human condition and emotion, and he pene- 
trates pretty deep into the Galactica. He 
becomes quite popular, until they discover 
he's there to terminate them from within! 
He's the most badass, invincible Cylon that 
they've ever encountered, a one-man army 
eliminating the Galactica. Beyond that is a lot 
of characterization, and we'll see the Pegasus 
again — Cain's daughter is still on the Galac- 
tica. You'll definitely see the Alliance, the vil- 
lains who appeared later on in the Galactica 
series, who had some potential. Even among 
Galactica fans, that's really a fence that 
divides people — do you like these Nazis in 
space or not? I was one of those who saw 
some potential in them if you took away some 
of the campiness. So we're going to do some 
stories with them, too. I just love these char- 

Cylon Stories 

Liefeld maintains he's staying true to the 
original Galactica concepts and premises, 
though some of the characters may actually 
exhibit some extra abilities. "In 'War of the 
Gods,' Adama showed Apollo how he could 
telekinetically move an object across his 
table. Adama says it's an art they always uti- 
lized when he was a cadet. There are some 
definite areas we have tapped into with the 
next generation of Colonial people; some of 
the young people have these abilities." 

Liefeld is co-writing the first three issues 
with Robert (Q-Unit) Napton. The pair have 
also plotted the second story arc together, 
after which Liefeld says he's turning over the 
series to Napton and his partner. Karl Alstaet- 
ter. "They're big fans and they've done some 
really solid work in the genre. They really 
helped me sculpt this new look for the series. 
Karl and I redesigned and updated every- 
thing, and laid out the entire first two issues. 
Guys in the studio are lining up to draw this 

A spin-off called Tales of Galactica is also 
in the works as a series of one-shots. "Two 
ideas I always liked were good SF stories that 
dealt with the Cylon Empire and the 
Colonies," says Liefeld. "They'll fall under 
the blanket of Tales of Galactica, but those 
are the only two stories planned right now." 

Liefeld knows that reviving the nearly 
20-year-old TV series in comics form is not 
necessarily a guarantee of commercial suc- 
cess, but he's having too much fun to care. 
"We're just going with what was cool and 
throwing out what wasn't, to make for an 
exciting series," he says. "Dark Horse has 
done a real good job with their Star Wars 
license: they've had tremendous success and 
done some smart stuff. 

"Galactica is nowhere near as popular as 
Star Wars and we all realize that. But again," 
an enthusiastic Rob Liefeld stresses, "I'm a 
fan, so we're going to give it a try and do 
some fun books!" -# 

STARLOG/November 1995 39 

Glen Morgan & James Wong are sending Earth's youngest pilots into 

intergalactic war. 

"They*re.aU verytalentedactors and vgrygood peop 
says'Morgan of Ijfs cgst_pf.relative newcomers. - 

While X once marked the spot for the 
writing/producing duo of Glen 
Morgan and James Wong, they've 
now moved above and beyond The X-Files to 
create, write and executive produce the new 
SF television entry Space: Above & Beyond. 
So busy are Morgan and Wong with the show 
that a three-hour window of interview oppor- 
tunity comes and goes, and it's not for anoth- 
er two hours that Morgan can finally sneak 
away from the set to introduce SF fans to 

"The show, which takes place in 2063. is 
centered around Nathan West [Morgan 
Weisser], who has always wanted to go to a 
space colony with his girl friend. On the eve 
of the launch, he's removed from the ship 
because of affirmative action taken on behalf 
of the In Vitros, people raised in gestation 
tanks by the government to become soldiers." 

explains Morgan. "Nathan is removed from 
the ship heading to a colony and the love of 
his life goes off into space without him. 

"Meanwhile, we intercut with our two 
other leads: Cooper Hawkes [Rodney Row- 
land], an In Vitro who's unjustly jailed and 
sentenced to the Marine Corps, and Shane 
Vansen [Kristen Cloke], whose parents were 
killed by artificial intelligence creatures 
known as Silicates. They basically assassi- 
nated her parents right in front of her and her 
sisters. Shane has been raised by her sisters 
and now she wants to do something for her. 
She joins the Marine Corps and gives her life, 
in her own way, back to her parents. 
Meanwhile, Nathan also joins the Marine 
Corps. He thinks that since the military has a 
presence in space, that's his best chance to 
get back to his love, because the Marine 
Corps may be searching for the colonists. 

Before anything like that can happen, the 
colonies — and the country's finest fighter 
pilots — are attacked by an alien race and 
massacred, and the world's sent into an inter- 
galactic war." 

Cadet Casts 

When casting Space. Morgan and Wong 
took a unique approach, one that has worked 
to perfection on The X-Files. They went with 
talented, but relatively unknown, actors 
rather than big-name stars. About the closest 
thing to a marquee name in Space is R. Lee 
Ermey. best known for portraying military 

IAN SPELLING, veteran STARLOG corre- 
spondent, writes the weekly "Inside Trek" 
column for the New York Times syndicate. 
He profiled Michael Born in STARLOG 

STARLOG/November 1995 41 

figures in such films as Full Metal Jacket and 
Body Snatchers. He plays the tough-as-nails 
cadet trainer Sergeant Major Frank Bougus in 
the pilot and will be a recurring character. 
Weisser's credits include several telemovies 
and series guest shots, as well as the 1991 
low-budget feature Prayer of the Rollerboys. 
Cloke was a regular on the short-lived Win- 
netka Road, played a recurring character on 
the series Silk Stalkings and guest-starred on 
Quantum Leap. Rowland counted among his 
prt-Space credits numerous New York stage 
assignments, as well as such TV movies as If 
Somebody Only Knew and the yet-to-air cable 
film Block Party. 

"They're all very talented actors and very 
good people," says Morgan of his cast. 
•'David Duchovny was sort of familiar when 
we did X-Files, but Gillian Anderson was an 
unknown. There was great excitement in 
watching them develop. That's much more 
interesting than casting stars. The actors on 
our show are hungry. We didn't want baggage 
from another series or maybe a movie that a 
particular actor had been associated with car- 
rying over. We wanted to have the audience 
learn about them right from the start. We've 
got an attractive cast, but we're trying to 
avoid being labeled Space, 90210. 

"Kristen Cloke. who plays Shane, is a 
dark figure. She's pretty, but not overtly 
beautiful. She had a toughness to her — when 
she auditioned, it was clear that she had a 
dark past that she was really sad about. Rod- 
ney Rowland, who plays the In Vitro, or 
Tank, started out as a print model, which was 
stunning to me because when he was audi- 
tioning and I saw his ads, I went, 'This is not 
the right guy.' Then, I realized he's very new. 
very raw. and that's what's exciting. He's 

Rodney Rowland is Cooper Hawkes, an In 
Vitro, "people raised in gestation tanks by 
the government to become soldiers," " . ■ 
according to Space producer/writer 
Glen Morgan. * 

sometimes very different from take to take. 
Because the Cooper character is someone 
who comes to life at age 18 and doesn't 
understand emotions, Rodney is perfect 

Artificial intelligence cseatures known as 
Silicates killed her parents, and now 
Shane Vansen ( Kristen Cloke) is on the 
firing line herself. m 

because, in his learning to act better, it trans- 
lates into that character trying to learn about 
life. Morgan Weisser was just the best actor 
we auditioned, and we wanted that chiseled- 

42 STARLOG/November 1995 

could embark on a new life together, 
Nathan West (Morgan Weisser) goes 
AWOL in an early episode. 

jaw, stud guy look for Nathan. I think he's 
handsome, but he also has a very big heart 
and can play more of the romantic lead. He's 
really a wonderful actor." 

Mission scenarios 

It's Morgan's belief that the series pilot, in 
which the lead characters, all cadets called 
into action as fighter aviators after the Marine 
Corps' most talented pilots are massacred by 
the aliens, will intrigue viewers and compel 
them to tune in to subsequent episodes. He 
feels people will want to learn more about the 
protagonists, about the mysterious aliens and 
about the In Vitros. The first post-pilot 
episode. "The Farthest Man from Home." 
deals with Nathan going AWOL because he's 
near the planet that was to be colonized by his 
girl friend and the others on her mission, and 
he has heard rumors that people on the planet 
are still alive. 

Morgan won't tip his hand when it comes 
to revealing more about the aliens. Like an 
onion, he suggests, they'll be unveiled a layer 
at a time. "Everyone wants to know about the 
aliens, but we don't really want to say too 
much. They're from a particular planet and 
they don't breathe air. It would just lose the 
mystery if we told too much, so we're reveal- 
ing things about them bit by bit. We're trying 
to equate it to the American soldiers and the 
war in the Pacific," he notes. "At that 
time, the Japanese were totally an alien cul- 
ture. You would come across their camps and 
find chopsticks and see their swords and see 
writing. There wasn't really that much face- 

be comrades, but they'H .also, fight 
amongst each other," reveals Morgan of 
the plans for the regulars like Lanei 
Chapman's Vanessa Damphousse. . . 

to-face interaction, but you came to learn a 
lot about them. That's what we want to do on 
Space with our aliens. In the first episode. 
Nathan comes across some graves that he 
believes the colonists left. When he starts 
digging, he sees a skeleton with fused fin- 
gers. So, there are similarities between the 
aliens and us. 

"In the second episode, 'The Dark Side of 
the Sun,' we're exploring how Shane has to 
come face-to-face with the Silicate guerrillas. 
These are beings responsible for her fam-ily's 
death and she just wants revenge. The story is 
about the futility of revenge. We're trying, as 
we go along, to deal with what war is about. 
We're looking at how our guys, as soldiers, 
see the war. They're not really involved in the 
big happenings or decisions, but they get 
their orders and go about obeying them." 

"I'm not sure how 

embraced Space will 

be by SF fans." 

Relationships between the characters will 
evolve as episodes air. Though Morgan and 
Wong have ideas as to what will happen 
amongst the main characters and such regu- 
lars as Vanessa Damphousse (Lanei Chap- 
man). Paul Wang (Joel de la Fuente), cadet 
commander McQueen (James Morrison) and 
the hard-ass Sergeant Major Bougus, future 
outings will be predicated on the chemistry of 
the actors, the response from fans and the 

d»n't worry. "We didn't want baggage 
'from another series or maybe a movie 
that a particular actor had been in 
carrying over," Morgan explains. 

interaction of the characters. "Sometimes 
people develop chemistry on screen that you 
never anticipated. We definitely don 't want 
our characters all falling in love with each 
other. They're going to be friendly and they'll 
be comrades, but they'll also fight amongst 
each other," promises Morgan. "We're not 
going to have big love triangles, but other- 
wise we're just going to see how it all works 

"We're really trying to find the tone of 
John Ford Westerns. Space is really about the 
Depression and an oncoming war. I think we 
can have this futuristic setting and be dealing 
with questions of what leadership and faith 
are. On a real level, you get young people 
who find a voice, like a Kurt Cobain, and 
then he shoots himself. Those are the things 
we're trying to deal with thematically that we 
hope today's audience will relate to. I feel, 
initially, that you can hate the aliens because 
you don't know them, they leave horror in 
their path with how they torture the colonists, 
but one of the pieces that we're drawing from 
is All Quiet on the Western Front, both the 
book and the movie. You learn that your 
enemy is indeed a life form, too. and not just 
the horrible, one-legged, horned monster 
you've been led to believe it is." 

Though Space will occasionally deal with 
topical issues like affirmative action, the 
executive producer expects that his show will 
not be Star Trek-like and attempt to address a 
great many modern-day issues in futuristic 
stories. "I don't think it will go that way. I 
hope we'll be a bit more visceral and emo- 

STARLOG/November 1995 43 

tional about it. Star Trek sometimes ap- 
proaches issues from a very intellectual 
point-of-view," Morgan says. "We're just not 
that smart." 

Still, Morgan promises that Space will 
differ from the many other SF shows current- 
ly filling the airwaves. "Jim and I see this not 
so much as an SF piece as kind of a 
WW II movie or a war piece in space. We're 
drawing, as I said, from All Quiet on the 
Western Front, but also from Twelve O' Clock 
High, Guadalcanal Diaiy and Air Force. So, 
our look is much darker than you'll see on 
some other shows. Our people sweat and 
bleed and their hair is messed up. The vehi- 
cles they fly in are very cramped and. just like 
an aircraft, hot and sweaty. We'll probably be 
much more action-oriented than some shows, 
but we don't want to do action just for 
action's sake. It should tell you something 
about the characters as it happens. We have a 
great deal of respect for all of the other shows 
out there and we've watched them and said. 
"Well, this is what they do; let's not rip them 
off or copy them. How can we be different?' 
That was what dictated our choices." 

In the Ford classics and many other war 
films, the good guys often went down fight- 
ing for the causes in which they believed. 
Even John Wayne died in Fighting Seabees 
and Sands of Iwo Jima. Might Morgan and 
Wong risk potential negative fan reaction and 
kill off a character or two early on in the 
show's run? "That's what we want to do," 
says Morgan without elaboration. What, no 
hints? "No hints at all," he responds, laugh- 
ing. "Our actors read STARLOG, you know." 

Combat Objectives 

Taking a few steps back in the creative 
process. Morgan goes into detail about how 

Space evolved. By television standards, it 
was a fairly quick ascension from concept to 
air. Lucie Salhany, who was the president of 
Fox Television about two years ago and had 
been instrumental in launching Paramount's 
Star Trek: The Next Generation into syndica- 
tion in 1987, expressed interest in having a 
show developed with a theme along the lines 
of a Star Trek academy scenario. Picture the 
Next Generation outing "Lower Decks" as 
the concept for an entire series. On behalf of 
Salhany, Fox executive Peter Roth ap- 
proached Morgan and Wong, who were con- 
cerned that such a show might alienate 
Trekkers. Still, Morgan and Wong had stood 
on the outside looking in once too often and 
eventually pounced on the opportunity. 

"We're really trying to 

find the tone of John 

Ford westerns." 

"Jim and I had done a lot of pilots, but 
were always kind of knocking on the door. 
Unless you're a Steven Bochco or Witt- 
Thomas, it's hard to get in. So, we said, 'OK, 
they want to do a show in space. How do we 
make it our own?' Jim and I had grown up on 
the NASA space program. Apollo 13 might 
have changed things around a bit recently, but 
pride in the nation's space program was a for- 
gotten feeling not long ago. When I went to 
school as a kid." remembers Morgan, "we 
learned about space exploration and these 
great ideas about our country's successes. 
But when we went home, the country was 
being torn apart by race riots and the Vietnam 
War. The only thing we had to look up to as 
kids was the American space program. 

"We wanted to recapture some of that 
feeling, which led us to develop the show as 
we have. Jim and I had taken a 'Fiction of 
War' class in college and read books like The 
Red Badge of Courage and Catch-22. There 
were themes in those books that were fasci- 
nating to us — people are put in a cauldron, 
and when you do that to people, they do 
things they wouldn't normally do. So, that's 
how we merged the space and the military 
elements together. It's kind of a long-winded 
explanation of why we chose space as our 
setting, but it's the truth." 

Morgan, who adds that other influences 
on Space included everything from ALIENS 
to the seminal SF works of Robert Heinlein 
(which Wong read as a kid) and Joe Halde- 
man's The Forever War, reports that he and 
Wong have an ideal working relationship and 
that they balance each other well. Morgan 
and Wong have written four of the first six 
episodes, but he notes that co-executive pro- 
ducer Stephen Zito and supervising producer 
Tom Towler also play an active role in bring- 
ing Space to life. Asked to delineate how he 
and Wong divide their present work load, 
Morgan laughs, then explains that "Jim is a 
really good film editor and I think I'm better 
at casting. We definitely write together. So, it 
just comes down to. 'You do this, and I'll do 
that.' If I get along better than Jim with a par- 
ticular director, I'll go sit on the set. We just 
play things by ear as they come up." 

The show's special FX are being handled 
by an outfit in Pasadena, California called 
Area 51, operated by Tim McHugh, who 
serves as Space's visual FX producer. Glenn 
Campbell works with McHugh and has the 
title of visual FX supervisor. "I can't say 
enough about these guys," enthuses Morgan. 
"Everybody that saw the pilot script said, 

44 STAKLOG/November 1995 

'Forget about it. This will require feature 
film-quality FX.' Tim came in. and you could 
tell he was concerned, but he was positive 
and said he would give it a try. We had all 
talked about it and said we wanted a World 
War II look. From what I've read, I know that 
George Lucas referenced World War II fight- 
er footage while working on Star Wars. So, 
we wanted the viewer to be in the fighters 
with our pilots and not have so many 'God 
shots' all the time. Tim and Glenn are great. 
Their shot composition is great, and so is the 
way things come in and out of the frame. 
Even the lighting is great." 

Battle Records 

It doesn't take a brain surgeon to tigure 
out that leaving The X-Files to create Space 
was a huge gamble for Morgan and Wong. 
After all. during their year-and-a-half with 
The X-Files, the show catapulted from cult 
favorite to mainstream hit. with the duo's 
episodes among the most eagerly anticipated. 
"We really liked everybody over there. 
They're good friends," states Morgan. "I 
really like David and Gillian. They were a 
pleasure to write for. It was becoming a big 
hit show when we made the decision to leave. 
You work on a lot of crap waiting for that 
chance to have a hit. But we were hungry and' 
wanted to do our own show." 

Will the rest of the Space characters be 
comfortable fighting alongside Cooper 
Hawkes, who has been unjustly jailed and 
sentenced to the Marine Corps? 

Writing and producing The X-Files, notes 
Morgan, both did and didn't help him and his 
partner prepare for the rigors of creating and 
running a show on their own. "Space is a big- 
ger show," he says with a laugh. "They're 
both very hard. Part of it was a matter of 
learning more about FX. We knew we had to 
be ahead of schedule on scripts. But the most 

important thing we learned from our experi- 
ence on The X-Files was how we can tell sto- 
ries across a 22-episode season, how a 
character like the X-Files ' "Cancer Man' can 
play out. how you can have mysteries and not 
address everything. You can emotionally tie 
up a character without necessarily tying up 
the whole plot, or vice versa. We learned how 
each episode can have closure, yet emotion- 
ally lead the viewer into the next show. When 
you start to see the episodes of Space, which 
are even better than the pilot, which got 
caught between regimes at Fox, you'll actual- 
ly see more similarities between X-Files and 

Though Morgan clearly seems to look 
back upon The X-Files with fondness as an 
important learning lesson and giant step in 
his career, it's his feeling that the show is now 
completely behind him (Morgan and Wong 
discussed the series in STARLOG #210). He 
watched an episode written by his brother 
Darin ("Humbug") late last season, but other- 
wise has been too busy with Space to devote 
much attention to his former project. Asked if 
he expects to be involved in any way with the 
proposed X-Files film, Morgan simply says 
no. then in a virtually emotionless tone adds. 
"I doubt [X-Files creator and executive pro- 
ducer] Chris Carter would want us involved 
and, to be honest. I would be surprised if the 
film happened." 

Speaking of film, Morgan and Wong 
scripted the little-seen 1985 big-screen drama 
The Boys Next Door, which starred Charlie 
Sheen. Christopher McDonald. Maxwell 
Caulfield and Patti D'Arbanville and was 
directed by Penelope Spheeris. Though Mor- 
gan admits that he would much rather go to 
the movies than sit in front of a TV set, he 
doesn't find the small screen medium stifling. 
"Space, The X-Files, even 21 Jump Street, 
which I worked on several years ago. always 
felt like we were doing a different film every 
week. If we get past 12 episodes on Space, 

we can try things, experiment with structure, 
with characters, editing and FX. TV is much 
more immediate than film." he asserts. "You 
see your work right away and get feedback 
right away, and I'm enjoying working in tele- 

If Space: Above & Beyond should catch 
on with viewers and attract a sizable audi- 
ence, the possibility exists that the program 
could be on the air for five or six years. It's a 
scenario that scares Morgan, who. in a per- 
fect world, doesn't envision being Space- 
bound for more than three years. "That's how 
long we're contracted to do it. Right now, I 
like everybody here and we have everywhere 
to take our characters." he comments. "Jim 
and I like coming up with a concept for a 
show, casting people and giving birth, so to 
speak, to a show. But, we have our eye on 
films and we'll get there eventually." 

As the conversation comes to an end and 
Morgan prepares to return to the set, he 
explains that, while he believes Space is a 
quality production with much to offer, there's 
the possibility that fans won't take to it. It's 
not so much a matter of Morgan assuming a 
pessimistic stance, but rather, one that's cau- 
tious and practical. "This is probably my own 
insecurity, but I'm not sure how embraced 
Space will be by SF fans. From what I found 
from The X-Files and from watching Star 
Trek reactions from the sidelines, you never 
know how fans will react. You should be able 
to have a broad horizon when working in SF, 
but sometimes fans say. 'You have to have 
this," or. 'You should be scientifically cor- 
rect.' or. 'You have to have these gizmos.' In 
order to not be like other SF shows, we 
haven't done much of that." concludes Glen 
Morgan. "We're very focused on the charac- 
ters and what the situation is doing to them. 
So, being honest. I'm very nervous about 
Space, but very excited about it. too. It would 
be a great honor to have fans embrace it, and 
I hope they will." Jv 

STARLOG/November 1995 45 

There are Deadly Cairn 

afoot in the Southern 

California hills. 

It's not possible to describe this show in 
one line," Cynthia Gibb laughs. She has 
just finished being made up for her role 
as Lauren Ashborne in the new UPN TV 
series Deadly Games, and is taking a few 

Correspondent, is the author of Keep 
Watching the Skies! (McFarland). He pre- 
viewed Deadly Games in issue #219. 

minutes to chat with STARLOG in the 
makeup trailer, where several people are 
seeking shelter from the blistering heat on 
this sunny July day. 

"You want a one-liner?" Gibb asks with 
a smile, then draws a breath and lets loose. 
"Gus Lloyd, wacky scientist, in some freak 
scientific accident, has brought to life a 
video game he has created, and in so doing 
has littered the world with over-the-top bad 

guys, led by Christopher Lloyd, as the 
Jackal, whose sole objective is to destroy the 
Earth and all its pleasures. The only people 
who can stop him are the heroes who were 
programmed into the game, and Gus fash- 
ioned the heroes after himself and his ex- 
wife, played by me, and therefore, I'm inad- 
vertently and unhappily brought into this 
thing, because if I don't try to combat these 
bad guys, the world will end and I'll have no 

46 STARLOG/November 1995 

Deadly Games is executive produced 
by Leonard Nimoy, who reveals that 
in the third episode, "the character 
that comes out of the game is Evil 
Shirley [Shirley Jones]." 

life anyway. But as it turns out. I don't have 
much of a life while fighting these bad 
guys." She pauses, grins, and adds. "Al- 
though next week, I do get covered in sludge 
by the Trashman, so it's not all bad." 

This is the second time STARLOG has 
visited the Deadly Games company, and the 
location in the Santa Clarita Valley near 
Fillmore, California, is almost improbably 
beautiful. This is the way Southern 
California used to look, from the 1920s to 

"I never thought that 
lly be a 


late 1940s: low, rolling hills covered with 
endless fruit orchards, mostly oranges. 
Filmy spiderwebs loop from treetop to tree- 
top; black vinyl hoses run along the base of 
the trees. 

Lauren (Gibb) and Gus (James Calvert) 
have been battling a super-auto mechanic, 
who has tied them to the tracks of an oncom- 
ing train, "just like a silent movie hero and 
heroine," Calvert says, laughing. "The train 
is bearing down on us, the death car is com- 
ing from the other end, and we're squished 
in the middle." 

This is, Gibb admits, a "pretty incredi- 
ble situation. I never thought, in all my 
career, that I would actually be a damsel in 
distress, tied to a railroad track." But she is. 
and seems pretty relaxed about it. too — so 
much so that, having not had much sleep 
the night before, she actually dozes off 
between takes, despite "rope burn, dust in 
my eyes, boulders under my back and peb- 
bles in my mouth." Between takes, some- 
one rushes over with one of the set's many 
big parasols and shades the two bound 
actors from the Sun. 

"I'm inadvertently and unhappily 

brought into this whole thing, 

because if I don't try to combat these 

bad guys, the world will end and I'll 

have no life anyway," Gibb says. 

The train isn't really there; it will be 
added in post-production, but Calvert, Gibb. 
Steven T. Kay (as their pal Peter) and Sam 
McMurry (as police detective Dorn, now a 
continuing character on the show) all effec- 
tively react as though the train really is bear- 
ing down on them. There's an additional 
complication, too; the Garage Mechanic 
(Mark Pellegrino), arrives in his black 
Cadillac convertible, which he has fitted 
with a laser death ray. 


Over the next few hours, the fast-moving 
company films a scene in which Dorn 
breaks off trying to free Lauren and Gus. 
and confronts the Mechanic with gun drawn. 
This scene is shot a few times, and then the 
big-deal shot of the day is set up: the laser 
cannon will fire at the cop, but hit the police 
car instead, exploding it. Although like the 
train, the laser beam will be added later on, 
the car is really set to explode. 

It's parked on a little-used but paved road 
that runs between the railroad tracks and that 
vast orange grove. The explosives expert 

According to Gibb, Sebastian 
Jackal's (Christopher Lloyd) "sole 
objective is to destroy the Earth 
and all its pleasures." 

STARLOG/November 1995 47 

rigs the car with five gallons of gasoline, and 
special rams in the trunk and engine com- 
partment that will fling their lids open. 
Meanwhile, the stunt doubles for Kay and 
McMurry rehearse Peter's heroic gesture of 
leaping on his pal and throwing him to the 
ground just as the laser beam fires. A pro- 
duction assistant with a pushbroom with 
green nylon bristles carefully sweeps the 
blacktop free of gravel, to make the stunt- 
men's landing relatively easy. 

The FX expert talks to the assembled 
Deadly Games cast and crew, explaining as 
closely as he can the extent and results of the 
explosion. A water truck is parked around 
the corner of the orange grove; a van with its 
motor running is stationed nearby, in case 
anyone needs to be rushed to a hospital. This 
is just an everyday stunt for a TV show — 
spectacular but not major — but the extent of 
the precautions and the time it takes to rig 
the car shows clearly why movies with huge 
stunts, exploding cars, stuntmen flung in all 
directions, flying debris and all, take so very 
long to film. 

After a few more words to the cast, direc- 
tor Christopher 

"Peter is a bit of a genius," offers Steven 

T. Kay of his character, "a computer whiz 

with a very offbeat sensibility." 

Hibbler calls "action." The Peter stuntman 
leaps on the Dorn stuntman and the car glo- 
riously explodes. There's a giant ball of fire 
in the passenger compartment that erupts out 
the windows and devours itself as it rises to 
about 30 feet in the air. The trunk and hood 
rams didn't quite work, leaving the trunk 
closed and the hood a twisted piece of metal, 
but the explosion is quite satisfactory — and 

The crew then promptly and efficiently 
starts rigging for the next scene. A bemused- 
looking Christopher Lloyd arrives on the 
set, seemingly disappointed to have missed 
the big explosion; over in the makeup tent, 
both Calvert and Gibb are surprised to learn 
that it has already taken place — they had 
wanted to see the car go boom. 

Gibb's description might not be just one 
line, technically speaking, but it does cover 
the ground as far as the basics of Deadly 
Games go. Of course, there are other details; 
the bad guys are all based on people from 
Gus' past who have irked him in one way or 
another, and they have supervillain powers 
based on what Gus, in his boyish way, felt 
were the most outstanding characteristics 
of that real-life person. For example, as 
executive producer Leonard Nimoy 
explains, "The third episode we did was 
one in which the character who comes 
out of the game is Evil Shirley, who, it 
turns out, is based on Gus' ex-mother- 
in-law, also named Shirley, whom he 
felt was instrumental in destroying his 
marriage. So, Evil Shirley is an ice 
witch — her function in the game is to ice 
f people to death." 

Then, there's the wisecracking Peter 
Rucker, played by the wisecracking Kay. 
As he explains it, the character changed in 
conception after he was cast. "They had 
planned on him being a little more staid, a 
little more nerdish, a little more bookish 
than I am. I came in and just screwed 
around. They brought in a New York Times 
Magazine article on who's into computers, 
with a picture of the staff of a new comput- 
er magazine. And they all dress like normal, 
cool people," Kay says, dressed in a very 
loud Hawaiian shirt. "It's no longer the 
medium of the geeks. It's the medium of 
anyone who's breathing." 

Kay has a regular role on the day- 
time soap opera General Hospital, as 
the formerly homeless Reginald 
Jennings, now the devoted com- 
panion of an elderly million- 
s' airess, played by queenly Anna 
Lee. His role on Deadly 

Dr. Gus Lloyd (Calvert) 
and his ex-wife Lauren 
Ashborne (Gibb) must 
defeat a host of bad guys, 
including an evil camp 
counselor played by 
Anthony Michael Hall. 

Games could hardly be more different. 
"Peter is a bit of a genius," Kay says, "a 
computer whiz with a very offbeat sensibili- 
ty. Peter made his way through school dri- 
ving cabs, so his take on the world is a little 
bit skewed. But he's basically doing the 
grunt work, the nuts-and-bolts work, for 
Gus. He turns out to be the intellectual sav- 
ior in many cases. Or at least he tells Gus 
how he can go off and save the world. 

"It's basically Gus' show," Kay points 
out, "and we're his happy elves, there to 
support him. I think now that everybody's 
getting comfortable and we're settling into 
rhythms, they're able to broaden the scope 
of the show. I think they started to realize 
that the more human the show becomes, the 
more interesting it is." 

Came Pieces 

Co-executive producer Paul Bernbaum 
explains that when he read the show's origi- 
nal script, "it was so melodramatic that I 
couldn't buy into it. But I thought that it was 
a great device having the hero who invented 
this game explain to his ex-wife that this is a 
game, it wasn't meant to be real. We do have 
a lot of fun with that; it's one thing when 
you're sitting in front of a TV playing 
Nintendo or whatever — but when you have 
got to do this in real life, even though some 
things might be silly, if you don't do them, 
people will die." 

Nimoy adds that just as the villains from 
the game have their real-life counterparts, 
Gus has a counterpart in the game himself — 
the Cold Steel Kid. "We only see the Cold 
Steel Kid in the game," Nimoy says, "he 
never crosses over into real life. Gus is con- 
stantly mistaken for the Cold Steel Kid by 
the villains because, after all, he looks very 
much like him." 

However, Nimoy insists that the show is 
not really about computers. "The most 
important aspect of this show is the relation- 
ship between Gus and Lauren. It's a show in 

which you can have a guy and his ex-wife 
arguing about what broke up their relation- 
ship, her complaining that being married to 
him was too chaotic, she wanted serenity in 
her life; him responding, 'Whaddaya mean, 
too chaotic?' And suddenly the door crashes 
in and here's a football player in full dress 
who's trying to kill her because that's what 
he has been programmed to do. That's the 
nature of the show, and it really is all about 
their relationship." 

Calvert agrees. "Paul and Leonard are 
brilliant about keeping the central focus on 
our relationship and how that moves along. 
And, of course, they're both terrific at the 
SF aspect. I really enjoy that part of it: I also 
enjoy seeing how things are actually done. 
I'm a fan of SF on television, so to be behind 
the scenes watching how they do it is really 
great." Not that this is the first time he has 
had this opportunity, he points out. "I was a 
regular on Superboy; I played T.J. White, 
which was basically the Jimmy Olsen part, 
but Jimmy Olsen would have been too 




e his 

young, so they came up with a new charac- 
ter. On that show, we also did a lot of SF 
stuff, flying and explosions." 

The Deadly Games company, on their 
11th episode, has been shooting all over the 
Los Angeles area, but their home base is a 
small studio way out in the San Fernando 
Valley. The three main standing sets for the 
show are housed there: Gus" apartment, his 
lab and Lauren's apartment. 

Gus' apartment looks like that of a 
grown-up little boy; there are toys every- 
where, framed comic book prints on the 
wall, and a general sense of happy, dusty 
clutter. By contrast, Lauren's set reflects her 
personality; it's cool, beautiful and elegant, 
with a lot of crystal. The crew swiftly sort of 
unfolds the set; it has been tucked away into 
itself for shooting on a temporary 1 set whose 
purpose has been fulfilled. On this day, the 
episode is being directed by Adam Nimoy, 
son of Leonard; he's relaxed but efficient, 
and as soon as the apartment set has been 
reassembled and lit, he's on the set with the 
actors, shooting the new scene. 

Came Gear 

The set for the lab where Gus and Peter's 
experiments with anti-matter caused the 
problem in the first place is immediately 
adjacent to Lauren's apartment, and is a 
demonstration of clever, thoughtful produc- 
tion design. The working area of the lab is 
mounted on a steel mesh floor, raised above 
the regular floor. The anti-matter machine is 
on the right; in person, it's blue with red 
"electricity" zapping around it; the electrical 
bolts seem to be red neon tubing. 

Not far away is the "thunder seat," the 

superduper game module — chair and con- 
trols in one — that faces the large projection 
TV screen from which the bad guys emerge. 
Where they all are until they are needed, and 
whether they all emerged at once, are ques- 
tions no one seems willing to answer. And 
next to the thunder seat are two big tanks for 
water used to cool down the anti-matter 
machine, though they are empty at the 
moment. In the first episode, Peter resource- 
fully leaps into the tanks to evade the foot- 
ball player villain, whose weakness is water. 

There are various scientific things on the 
shelves around the room, and some long, 
blue tube-like devices on a rack that look 
very important, even though they're not 
actually hooked to anything. The 
usual electronic components lie 
around in various stages of being 
worked on. Sometimes, on a set like 
this one, it's hard to tell if something 
is part of the set decor, or part of the 
equipment being used by the real 
crew shooting on the set. 

On one side, a wall has been 
knocked down to make the lab larg- 
er; over here there's a basketball 
hoop hanging over a bicycle. 
There's a small area for relaxing 
with a ratty old reclining chair, a 
broken-backed couch and a TV set, 
plus a Star Explorer pinball 
machine. There's even a little kitch- 
enette whose shelves feature instant 
mashed potatoes, instant soups and 
crackers. And as in Gus' apartment, 
framed prints of comic book art 
hang on the walls. It looks like what 
we expect an actual lab to look like, 
even if not that many really do. 

The human side which both 
Nimoy and Bernbaum insist is the 
central element of the script is visi- 
ble in the sets, particularly the 
messy, comfortable lab set. And it's 
also pretty clearly the set for a com- 
edy; a serious SF show would have 
a more serious set. Bernbaum says 
that while some shows, such as the one in 
which we learn just what figure from Gus' 
past Christopher Lloyd's Jackal is based on, 

"Gus Lloyd, wacky scientist, in some 
freak scientific accident, has brought to 
life a video game he has created, and in 
doing so, has littered the world with over- 
the-top bad guys," Gibb states. 

are mostly serious, the show's overall tone is 
comic. "For the supervising producer on the 
show," he says, "I hired Jack Bernstein, who 
co-wrote Ace Ventura: Pet Detective. He's 
one of the funniest people I ever met in my 
life. He did a two-parter with Gus' old camp 
counselor as the bad guy. and it was just a 
stitch from beginning to end." 

He doesn't think they're going to run out 
of bad guys from Gus' past to base their vil- 
lains on, because Gus has just as much of a 
past as he and Nimoy need him to have. 
"Whenever I talk about the concept, every- 
one immediately has 10 people from their 
own pasts they would do this with. I think 
that's a very accessible part of the show: 
everyone has a list of people they could 
throw in there." 

And not necessarily people, either; all 
the villains have to be is derived from some- 
one who annoyed Gus — and that could even 
be, as Bernbaum says, a character from a 
cartoon. "Remember Underdog? The bad 
guy Simon Bar-Sinister, the little guy? I 
thought he would be a hysterical bad guy; I 
think we're open to anything we can afford 
to do. We try to design stories so that we can 
have as many computer graphics as we can, 
and to do as many action stunts as we can. 
We don't have the money seaQuest has, of 
course, but we do the best we can." it 

"The most important aspect of this 

show is the relationship between Gus 

and Lauren," Nimoy reveals. 

STARLOG/November 1995 49 

On the sedate, tree-lined campus of the 
Claremont Colleges, the elegantly 
beautiful Barbara Babcock could 
easily pass as an English professor in resi- 
dence. And she has worked as everything 
from a teacher, race car driver and college 
trustee to, most famously, a performer. 

As an actor, Babcock has been seen in 
numerous movies and shows, including Ron 
Howard's Far and Away, Bang the Drum 
Slowly with Robert De Niro and most 
recently, the hit TV show Dr. Quinn: 
Medicine Woman. Her role as Grace on Hill 
Street Blues ("One of the most fulfilling col- 
laborations of my career!") netted her an 
Outstanding Lead in a Drama Series Emmy 

Even more impressive, well, to STAR- 
LOG readers, is her appearance in numerous 
genre projects, ranging from Star Trek to a 
Stephen King adaptation. Babcock turned 
up in classic Trek a record four times (two 
live, two voice-overs). "The first episode I 
did was on camera," she recalls. "It was the 
war between the worlds done by computers 
["A Taste of Armageddon"], in which I fall 
in love with William Shatner. 

"I was just starting out in the business 
and I auditioned for the casting director. I 
got the role and, as a result of that, the cast- 
ing director found out that I could do 
accents. So, I think the next one, I played the 
mother of a god ["The Squire of Gothos"], 
and then I played the voice of a cat [Isis in 
"Assignment: Earth"]. My last role was a 
person with a powerful mind ["Plato's 

One might wonder if she has a favorite 

respondent, examined SF action toys in 
issue #218. 

Trek role. "I like the cat the best." Babcock 
grins. "First of all, I was flattered they chose 
me, because there are plenty of people who 
do animal voices for a living. My own inter- 
est in animal behavior and my love of ani- 
mals helped. It was great fun becoming a 
cat. Just in terms of the sound, I had to try to 
understand what that animal was feeling in 
every frame. Becoming that creature was a 
real acting job." 

Her first role on the series came as Mea 
3, an alien girl in a computer-dominated cul- 
ture who falls in love with Captain Kirk. 
Babcock says the part wasn't hard to bring 
to life. "I certainly had a crush on him! In ' 
my first episode, I thought Shatner was very 
attractive and very sexy; it wasn't difficult at 
all for me to play being attracted to him," 
she says with a mischievous smile. 

With its automated death tolls and blood- 
less body counts, "Armageddon" is an alle- 
gory on the pointlessness of war. (And it 
predicts computerized warfare and smart 
bombs.) "That's very much there." Babcock 
states. "Gene Roddenberry was a very 
thoughtful man, which I think is what made 
Star Trek more than just a science fiction 

"What makes that series last over all 
these years is that it dealt with issues that are 
pertinent to all of us, even now. Twenty 
years later, 'A Taste of Armageddon' could 
be replayed and people can still look at it 
and say, 'We've got to be careful because 
this sort of thing could happen.' 

"I liked Roddenberry very much. I didn't 
know him well, of course — I was just a 
working actor on the show, I didn't have a 
recurring character, so I was not in Star Trek 
on an ongoing basis, but over the course of 
the four episodes that I did, I thought he was 
a very gentle and lovely man." 

Babcock's last Trek role, as 
| Philana. a member of a cruel teleki- 
netic group that tortures Kirk, 
Spock. McCoy and Uhura in 
"Plato's Stepchildren," is her on- 
camera favorite. "That was the most 
complex character that I played on the 
show," she says proudly. "Somebody gave 
me the video as a present. The main reason 
that episode is so famous is because it was 
the first time on television that there was an 
inter-racial kiss— Michelle Nichols and 
Shatner kiss. 

•■Remember, this was 1968. and the only 
reason NBC allowed them to kiss was 
because my character was controlling them 
and forcing them to kiss through the power 
of my mind, but "in reality,' Kirk and Uhura 
didn't want to. They passed the censors that 
way by having it be something that was 
imposed on them against their will!" 

Hornet Love 

Babcock has fond memories of Kirk and 
Spock. "Shatner himself had an incredible 
amount of energy. When we were doing 
'Plato,' it was the last or the second to the 
last show of the entire series. He liked to 
play jokes on people. Shatner always kept 
everybody alert through his energy. 

"Leonard Nimoy is quite opposite to 
that. He was closer to the character that he 
played than Shatner was to Kirk, I think. 
William is a fun-loving kind of person, and 
in terms of the character he was playing, 
James Kirk was a very serious, controlled 
leader. Nimoy 's character was closer to his 
own personality in terms of what I could 
observe, and that was only on the set," she 
states. "How much do we really exhibit of 
ourselves even when we're on the set? Just 
as an actor watching another actor, there was 
a quality about Nimoy. He is a highly intel- 
ligent, thoughtful man and that came across. 

"Doing Star Trek was an absolute joy 
because I was a science-fiction addict from 
the time I was eight years old," Babcock 
confides. "I used to write SF stories as a 

50 STARLOG/November 1995 

child, and read all the science fiction I could 
get my hands on, so just becoming a part of 
this show was so exciting. Their research 
department was really phenomenal: every- 
thing that was there was something that was 
foreseeable from NASA's point-of-view. 
Even beaming up was something that was 
seen as a conceivable possibility. 

"The wardrobes left something to be 
desired," she announces, smiling about her 
exotic outfits. "Like 'Plato's Stepchildren' — 
it wasn't just Greek, it had to be science fic- 
tion Greek. The hairdos and wardrobes were 
always a little over the edge. The roles them- 
selves were fun to do!" 

Babcock had another fantasy romance 
when she played Elaine, the girl friend of 
The Green Hornet. "Good Lord. I don't 
believe it! I was his girl friend and it was a 
recurring role. Thank you for reminding me 
of my life," she giggles. "I had completely 
forgotten it! That was the first recurring role 
I ever had. 

"I worked with a pit bull or a bulldog on 
that show. Bruce Lee, of course, got his 
American start on that [as the Hornet's side- 
kick Kato], I liked Bruce very much. I got to 
see him practice his kung fu because he was 
also the show's fighting instructor. He was a 
martial arts teacher and was hired in both 
capacities. I didn't know him too well, but 
he was highly professional and had enor- 
mous charisma. I remember him as some- 
one who gave off an awful lot of power." 

Babcock found the Green Hornet him- 

self. Van Williams (STARLOG #135), "per- 
fectly pleasant. He was nice and actually 
had a good sense of humor. It wasn't an act- 
ing role as much as it was a personality role 
for him. I didn't have too many complex 
scenes with Van. It was a very straightfor- 
ward 'boy friend/girl friend' sort of thing. 
Still," she says with a laugh, "you're bring- 
ing up a past to me that I had completely 
forgotten — I had forgot that I had even done 
The Green Hornet]" 

"It wasn't just Greek, 

it had to be science 

fiction Creek." 

Doom Survivor 

Something Babcock would like to forget 
is her role in Chosen Survivors (1974), 
where she's placed underground with a 
group of people to simulate a doomsday sce- 
nario. Unfortunately, vampire bats enter 
through an unlocked electrical vent. "If I 
remember correctly, I was playing a scientist 
[Dr. Lenore Chrisman]. Lenore was my 
favorite name and I was the token female 
scientist who was rescued," she smiles. 

"I ended up in Chosen Survivors because 
I had worked with the director, Sutton 
Roley, prior to that on several TV shows and 
it was his first feature. He wanted me for the 
role, so I joined the cast and we shot the 

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"I always wanted to be considered a 
character actor, which is why I've done 
this kind of thing," says Barbara Babcock, 
a true lady of the screen. 

entire film down in and around Mexico City. 

"The original script was really interest- 
ing," she notes. "It was based on fact. There 
was a plan, which was this movie's plot, to 
save key people in the event of a nuclear 
war. They would be kidnapped and not told 
in advance. They would be taken into under- 
ground areas that were supposedly safe from 
radiation and kept down there. 

"In the event of humanity being wiped 
out, they wanted young, fertile males and 
females to propagate the planet again. The 
writers of this movie had done an enormous 
amount of research, so it was a really inter- 
esting script when I first got it," she says 
with a grin. "What ended up making it a 
grade-Z film was the insertion of this threat 
of vampire bats. Once these 'chosen sur- 
vivors' had been put into this underground 
habitat, they brought in bats!" 

Did Babcock have any trouble with the 
flying mammals? "Because of my interest in 
animals, I knew a bit about bats. lackie 
Cooper and I were the only actors who 
refused to get rabies shots. They were plan- 
ning to shoot scenes with no screens or bar- 
ricades between us and the bats! That would 
make it much easier for them to shoot. 

"Because we refused the shots, they had 
to put up 'invisible screens.' At one point, I 
had a close-up where I was supposed to be 
observing the bats. A bat got through the 
barricade, and started climbing up my leg! 
My close-up started at the shoulders and 
went up to my face. The director obviously 

In The Law and Harry McGraw, Babcock 
starred with another genre vet, Jerry 
Orbach, who provided Lumiere's voice 
in Beauty and the Beast. 

STAKLOG/November 1995 51 

saw what was going on and kept shooting! I 
could feel it because bats have a very 
strange way of walking," she explains. 

"When bats fly, they're beautiful, but 
when they're crawling, they're awkward 
and very tentative. They dig their hands into 
you as they climb. I felt it working its way 
up my body. When it reached my shoulder, / 
yelled cut. not the director. I was afraid if it 
got to my head, it would get tangled in my 
hair, panic and bite me. Since I didn't have 
the rabies shots, I didn't want to get bitten. 
That was my only real contact with a bat!" 

The bats prompted various other prob- 
lems. "Unfortunately, they had to trap bats 
for the film," Babcock reveals. "Every dusk, 
they put nets across caves because there 
were a lot of bats around Mexico City. They 
would use them on the set the next day. but 
only for 24 hours, otherwise they would die. 
Many of them did die. Cooper and I spoke to 
the Academy of Motion Pictures Arts and 
Sciences about universalizing the methods 
of treating animals. 

"In our country, we have rules on how 
animals are treated. When you did a film in 
Europe or Mexico, there were no rules, so 
they could kill animals if they wanted. We 
were responsible. Jackie Cooper and I, for 
making a change, because we testified. Now 
there's a law stating that any American 
motion picture company going abroad must 
follow the [American] rules and regulations 
so that animals are to be treated humanely 
and not killed." 

vampire Prey 

Babcock also co-starred with a bat on 
The Ministers (the "Bats of a Feather" 
episode). "Chosen Survivors and The 
Ministers are aspects of my past that I don't 

even put on my resume anymore," she 
laughs. "I think there were animals in the 
Ministers I did. I was Eddie Munster's 
teacher and there were creatures in the class- 
room — a bat and a squirrel. That's what I 
remember about it. it was great fun to do. It 
was like playing 'let's pretend' and becom- 
ing a child again." 

She was a resident of Stephen King's 
Salem's Lot (1979). the small Maine town 
populated by vampires. "That was a two- 
part movie for television and I'll tell you 
why I did it." she says in a conspiratorial 

"When bats fly, 
they're beautiful." 

tone. "The reason — the only reason — I did 
that was to work with James Mason 
[Straker. the head vampire's emissary]. He 
had been an idol of mine when I was starting 
out. I went to see every one of his movies 
because he was the consummate film actor. I 
learned so much from watching that man 

"Even though my Salem 's Lot role was 
very small and my agent said, 'You mustn't 
do this — it's sliding backwards rather than 
going forward!' I said. 'I'm going to do this 
film because I have a scene with him and I 
want to work with him, even though it's a 
small scene!' I wanted to express my appre- 
ciation because I had studied James Mason 
and his work for years. 

"I was in awe of this man," she smiles. 
"He was sitting across from me and we were 
waiting for the shot to be ready so we could 
film. I kept thinking. 'How am I going to 
talk to him? What am I going to say?' I had 

only just been introduced to him. Someone 
got up and left so there was an empty chair 
next to him. I thought, 'I've got to do it 
now!' I got up and as I was walking towards 
him, somebody else sat down in the chair! I 
found myself still walking towards him and 
I ended up kneeling at his feet," Babcock 
sheepishly confesses. 

"There I was, in this reverential pose! I 
told him how much he meant to me. I sup- 
pose it all came pouring out of me because I 
was kneeling. He was so moved, tears came 
to his eyes. I learned then that no matter 
what the status of an actor is," she smiles, 
"every actor likes to be appreciated!" 

Babcock suffers a horrible death in 
Salem 's Lot when Barlow the vampire slams 
her and her husband's heads together in 
front of their vampire-hunting son. Lance 
Kerwin. "It scared the hell out of me when I 
was killed," the performer reveals. "It was 
also technically scary, because the whole 
room comes down at that point! The room 
was literally rigged so that the ceiling and 
walls collapsed and all of us were just bom- 
barded by flying objects! Everyone was on 
wires and that all had to be done perfectly 
the first take!" 

The actor was able to do the stunt for her 
own death scene. "It helps when you're a 
dancer," Babcock relates. "We use our bod- 
ies as our instruments. Having done gym- 
nastics, I know how to fall backwards and 
not get hurt myself. I didn't have to use a 
stuntperson for when I fall off the table and 
onto the floor. There's a great kick to it as 

"The original script was very interesting," 
pleads Babcock of Chosen Survivors. 
"What ended up making it a grade-Z film 
was the insertion of vampire bats." 

52 STARLOG/A'ov<?mb<?r 1995 

Babcock liked working with the Star Trek cast on "Plato's Stepchildren," but she remembers vividly that "the wardrobes left 
something to be desired." 

well," she states. "When you're close to 
danger, you feel more alive. That's what 
I've been told by racing car drivers and that 
makes sense, up to a point!" 

Babcock was born in the United States 
and "went to Japan when I was 10 months 
old. We were Americans, but I loved Japan. 
My first word as a child was in Japanese."' 
she smiles. "We went there because my 
father was partly in the Army, partly in the 
diplomatic corps." 

The story of her parents' meeting is one 
Babcock enjoys telling. "My mother was an 
actress and was working in Carmel when it 
was an artists' colony. My father saw her 
play Juliet in Romeo and Juliet and said, 
"That's the woman I'm gonna marry." Sure 
enough, he did, whisking her aw : ay," she 

"If I didn't go into acting, my original 
goal was to be a diplomat. Since the only 
women who got to be diplomats at the time 
were actors. I thought, 'I'll become an actor 
and when I'm really well-known. I'll be a 
diplomat." She cites Shirley Temple Black 
as an example. "It hasn't happened yet!" 

Babcock is a tireless crusader for animal 
rights. "I've worked with scientists in the 
Amazon jungle and Africa on research 
expeditions and projects. For instance, in 
the Amazon jungle, we studied a species of 
monkey called Callaseabus Torquatis, 
which was endangered. We spent about four 
weeks in very dense jungle, where not even 
the indigenous people went. We hacked out 
trails with machetes in order to be able to 
follow the monkeys, because they're arbo- 
real — they never come down from the trees. 

"It's very difficult to be able to observe 
them. It rained 20 hours a day — we lived on 
platforms that we constructed three feet off 
the ground in order to avoid snakes, which 
are instantly lethal. We had a doctor on the 

expedition, but he privately told me, 'I'm 
just window dressing — if you ever get bit- 
ten by one of these things, you're a goner!' 
It was a remarkable experience for me." 

Babcock is also a teacher. "I have devel- 
oped a workshop which I have taken into 
academic circles and the corporate world, 
which is to teach non-actors how to act in 
front of the public. Not acting, but how to 
give lectures, do interviews and behave in 
front of a camera, because there are more 
and more people who have to do that kind 

"When you're close 

to danger, you feel 

more alive." 

of work. I find it much more interesting 
than teaching acting to actors. To teach the 
craft, an actor has to learn to instruct people 
who need to use it for things other than act- 
ing in daily life." 

Character Actor 

One creepy project was her episode of 
Night Gallery, "Brenda." An adaptation of 
Theodore Sturgeon's classic horror tale "It," 
Babcock played a mother whose spiteful 
daughter (Laurie Prange) lets a giant swamp 
monster into their house. "I don't remember 
it! That has even got me stumped," she con- 
fesses with a grin. "I'm reminded of roles 
that I have chosen to forget!" 

Also forgotten is her portrayal of a ghost 
on the TV series Logan 's Run (her husband 
wants to put her spirit in Heather Menzies' 
body). "I don't remember doing that show 
at all," she smiles. "I've been an actor too 
long, haven't I? When I don't even remem- 
ber my roles. I very vaguely recall it!" 

Babcock appeared in the SF telefilm The 

Last Child, in which the future U.S. gov- 
ernment outlaws pregnancy. "I do remem- 
ber that. It was a fascinating experience, a 
well-written script and an interesting con- 

Going from The Green Hornet and Star 
Trek to Emmy-winning work on Hill Street 
Blues is quite impressive. "One reason for 
that is I had to fight never to be typecast," 
she states. "To stay in one kind of role, to 
be pigeonholed into one type of part, was 
the last thing I wanted; I would have pre- 
ferred to get out of the business. 

"I always wanted to be considered a 
character actor, which is why I've done this 
kind of thing: now I want to do something 
totally different. Of course, producers and 
directors would look at what I've done and 
try to cast me in exactly the same kind of 
role. It's the easiest thing for them to do, it 
makes sense. There are plenty of actors, 
why not compartmentalize people? It's eas- 
ier to say, 'Get me a Barbara Babcock 
type!' than deal with the diversity the actor 
really wants to portray. I fought very hard 
for that and now, after all this time, 30 
years, it has begun to pay off because now 
they're willing to look at me as an actor 
with a broader range of possibilities." 

As for the future, she'll be doing more 
Dr. Quinns (as frontier newspaper editor 
Dorothy — "I enjoy doing that show!"), 
some writing (it runs in the family; her 
cousin Charles Brackett wrote Sunset 
Boulevard) and "I want to teach yoga to 
people my own age." she smiles. 

She would also be interested in another 
good genre role. "I love fantasy," Barbara 
Babcock declares. "Even the last film I did. 
Far and Away with Tom Cruise, wasn't an 
obvious fantasy, but it was a fairy tale 
because it was so romantic. That's the sort 
of genre I love." if 

STARLOGMovember 1995 53 


When actress Jennifer Hetrick heard 
about the casting call for Star Trek: 
The Next Generation in 1987, she 
didn't want anything to do with it. She had 
watched and enjoyed the original Star Trek in 
her youth. This upstart might be the work of 
original Trek creator Gene Roddenberry, but 
it couldn't be real Star Trek. A new show 
with a new ship and new characters could 
never work. 

Hetrick admits she made a mistake. 

respondent, examined Amanda and the Alien 
in STARLOG # 219. 

"It turned out to be fantastic. I thought it 
would be pretty cheesy. They tried to do a TV 
update with Mission: Impossible and that 
was really cheesy. I didn't want to have any- 
thing to do with that one, either." 

She got a second chance when Ira Steven 
Behr scripted "Captain's Holiday" for The 
Next Generation's third season. Vash, a con- 
niving but likable archeologist whose charms 
ensnare Captain Jean-Luc Picard (Patrick 
Stewart), grabbed Hetrick's attention imme- 
diately. "I liked Vash's sassiness and her 
irreverence. I liked her sense of fearlessness, 
and the fact that she really didn't give Picard 
the time of day in terms of his rank. Vash saw 

herself as an equal. She did whatever 
she felt she had to do, but she wasn't 
insincere about her feelings, either. 
She's not a total manipulator or user. 
She really felt something for Picard. 
At the same time, she didn't have to be 
completely honest with him." 

The script's more humorous 
moments had Hetrick laughing aloud. 
"When that happens, it's a good indi- 
cator of something I would really 
enjoy doing," she says. But because 
she had never seen The Next Genera- 
tion, she mistook Jonathan Frakes' 
William T. Riker for the starship's 
captain. "I thought all my scenes were 
going to be with Jonathan!" she says. 
"A little later, when I was in the Star 
Trek offices at Paramount, I saw 
Patrick Stewart walk down the hall, 
and it clicked. I realized then that 
Patrick was the captain." 

She landed the role and was soon 
drawing on her own feelings and 
experiences to create a living, breath- 
ing character out of the lines in the 
script. "When building a character for 
myself. I always try first to see what I 
could share with the character. Of 
course, I work with the information 
given to me about who the writer and 
producers want the character to 
be. But I try to find things to which I 
can relate. Vash's sarcasm was something I 
didn't have a whole lot of trouble relating to. 
And if I was given the opportunity to travel, 
to dig around at old ruins and discover trea- 
sures, I would find that very attractive. I get 
pretty fascinated with history; if I find myself 
in a place like the Roman Forum, as I did 
many years ago, I can get lost in the history 
of the place. I looked so hard for the blood of 
Caesar on the steps! I knew it had to be there 

Hetrick took the part of Vash in "Cap- 
tain's Holiday" with the expectation that it 
would be a one-time gig. But Vash proved so 
popular with viewers that she was brought 

54 STARLOG/November 1995 

As Vash, Jennifer Hetrick 

landed one of the most sought-after 

bachelors in the 24th century, Captain 

Jean-Luc Picard (Patrick Stewart), on Star 

Trek: The Next Generation. 

back in the fourth season for '"QpicT and in 
Deep Space Nine's first season "Q-Less." 

"Fans definitely responded to Vash and 
her ability to manipulate through flirtation 
and even a little bit of seduction. She's pretty 
confident in those areas. She knows how to 
get what she wants, and she can size people 
up and figure out what might be necessary. 
She's very instinctive. Her biggest weakness 
is her greed. She loves wealth!" 

Working with Stewart was "terrific/" says 
Hetrick. who didn't have any scenes with the 
rest of the regular cast in "Captain's Holi- 
day." "I wasn't sure what to expect going 
in, but it turned out to be a very relaxed 
atmosphere. Patrick and I spent a lot of time 
chatting. We had a great deal of fun. and we 
laughed a lot." 

Director Chip Chalmers was just as 
accessible, she says. "Chip was clear on what 
he wanted, and at the same time, he was very 
easygoing and willing to have fun." 

Captain's Love 

"Captain's Holiday" being her first Next 
Generation episode, Hetrick occasionally 
revealed her unfamiliarity with this Star 
Trek's Universe. One such incident occurred 
on Stage 1 6. sometimes referred to as "Plan- 
et Hell" by the crew because the alien envi- 
ronments created there often made filming 
difficult. "We were doing a scene where 
Picard and Vash are in the cave on the hunt 
for the Tox Uthat," says Hetrick. "I had the 
tricorder in my hand, and its little light went 

out. We were in the middle of the 
scene, the cameras were rolling, and I 
thought I would just ad-lib some- 
thing. So, I said something like, 'Can 
you get me another tricorder? The 
battery's gone dead.' Chip said, 
'Cut! Jennifer, this is the 24th centu- 
ry. We do not use batteries!' That 
was pretty funny. I was trying to be 
clever, and it backfired. As it turns 
out, I think it really was the bat- 

The scene in which Vash and 

Picard get ready to camp for the 

night is her favorite in the episode. 

"We're still getting to know each 

other, and I tell him I haven't been 

completely honest with him. With 

that scene, their relationship 

really begins to change. We 

see Picard in a more human 

way — a more male sort of way." 

At the conclusion of filming, 

Stewart pointed out that matters 

had been left open for Vash's 

return. "He liked that idea, and 

he didn't go back to the Enterprise saying. 
'Oh my God! I met the most incredible 
woman and I'm madly in love and must tell 
all of you about it!' I would think that he 
would share that with his crew, or at least 
mention me. But nothing!" Hetrick laughs. "I 
also liked the fact that Vash had snuck on 
board. A year had passed and she was curious 
about seeing Picard again. There was a cer- 
tain awkwardness when they first hooked up 
in his room and they kiss. There was still that 
strong mutual attraction, but it was awkward 
as well. Picard is so closed with his personal 
life. It was natural for Vash to anticipate just 
popping back in and picking up where they 
left off. When it didn't turn out that way. she 
got pissed off. Her attitude was like, 'Hey, 
I'm here. Drop everything! Let's have fun!' 
Picard is not nearly as spontaneous a charac- 
ter as Vash." 

The Sherwood Forest setting created by Q 
was a delight for Hetrick, with certain excep- 
tions. "I've always been interested in doing 
roles with period costumes and settings. The 
only problem was, my Sherwood Forest 
costume was pretty uncomfortable," she 

so did I." says Hetrick. Little more than a 
year later, Vash did indeed resurface in 
another Behr script. "Qpid." 

"I liked that one, too. I liked the fact that 
Vash got really pissed off at Picard because 

says. The constricting costume included a 
hairpiece which Hetrick came to loathe. "I 
kept sitting on this long braid in every scene. 
Particularly when Sir Guy comes in and says. 
'Listen. I'm goina to aive vou one more 

STARLOG/November 1995 55 

chance. Come sit down.' Every time I tried to 
get up from that bench, my head would jerk 
back, because I would be sitting on the braid 
without knowing it. It was troublesome. I 
was even tripping on my gown. In the scene 
where you see Vash with the nurse, and Vash 
is pacing back and forth, I stumbled on my 
dress and decided to use it, because Vash 
wouldn't be comfortable in that clothing." 

She enjoyed working with John de Lan- 
cie, although there was little banter during 
breaks. •'He's very much into computers." 
Hetrick reveals. "He had his little laptop with 
him and was always working on some pro- 
ject during set breaks." 

The actress observed plenty of antics 
among the regular cast members. "The guys 
goofed around a lot. I really didn't work that 
much with Marina [Sirtis] or Gates [McFad- 
den], but everyone was settled in and at ease 

with each other. Everyone was professional. 
and at the same time, they weren't so stiff 
that they couldn't have a good time. You 
need to have a certain amount of levity when 
doing a show like that. Those episodes 
required 16-hour days from the actors." 

A memorable scene for fans and for Het- 
rick was the sword fight sequence in which 
the Enterprise crew, as Robin Hood's famed 
Merry Men, come to Picard and Vash's res- 
cue. "I got to kick a stuntman over the edge 
[of the stairs]." she says. "It was an exciting 

Q's Companion 

Once again, the door was left ajar for 
Vash's return. At the end of "Qpid." she 
departs with Q for parts unknown. "This was 
a turning point because Vash was becoming 
an entity of her own. She was no longer 

"Patrick and I had a great deal of fun, and 
we laughed a lot," remembers Hetrick of 
her "Captain's Holiday" experience. 

attached to Picard. By going off with Q, she 
was becoming a character to be reckoned 
with. I liked that. It offered more possibili- 
ties. When she shows up on Deep Space 
Nine, she asks O'Brien about Picard, so there 
is a link. She's definitely her own person." 

The Deep Space Nine episode "Q-Less" 
marked the actress' last Star Trek appearance 
to date. Hetrick was thrilled to continue 
Vash's relationship with the superbeing Q. "I 
love the way they write for John, and I loved 
the stuff we got to do together in 'Q-Less.' " 

Having been dumped off in the Gamma 
Quadrant by Q, Vash now wants nothing to 
do with him. "Vash almost died, and she's 
not going stand for that," Hetrick remarks. 
"I'm sure Q did save her from numerous dis- 
asters, but nonetheless, you don't dump Vash 
and find yourself easily forgiven. By the epi- 
sode's end, though, when they're saying 
•goodbye, they both admit they'll miss each 

"Q-less" introduces Vash to a kindred 
spirit: Quark. A new alliance is born. "They 
have a mutual understanding, a mutual 
respect for their own greediness," asserts 
Hetrick. "So they can have fun. It's almost 
like a 'Mutt and Jeff thing. In the auction 
scene, I love how Vash starts out trying to 
give the background on each artifact and 
Quark has to show her the right way to sell it. 
'It's shiny!' he says. 'It sparkles! It's rare!' 
He goes right for the jugular. Then, I become 
Vanna White. 

"This may have been a new experience 
for Vash in terms of the types of characters 
she comes into contact with. She's used to 
selling these treasures to a more sophisticat- 
ed or respectable black market, if you can 
call it that." 

Should Vash reappear in a future Deep 
Space Nine, Hetrick would love to see the 
character paired with Quark again. "That 

would be a really nice pairing, because you 
have these two different backgrounds but 
they're both after the same 
thing. They left it open, so 
maybe that's what will hap- 
pen," she says. 

As in "Captain's Holi- 
day," Hetrick didn't get a 
chance to perform with 
many of the Deep Space 
Nine actors in "Q-Less." 
Her on-screen time with 
Avery Brooks, for example, 
was fleeting. "We had that 
one scene where Sisko and 
the others come to the auc- 
tion and we all run off to see 
this little baby entity take 
off," she recalls. "That was 
it. But Avery and I did meet 
in the makeup trailer and 
we chatted. It was only their 
seventh episode and they 
were all still getting used to 
the whole thing. There was 
a different atmosphere than 
I had experienced on The 
Next Generation.' 1 

At one point in "Q- 
Less," Q, attempting to convince Vash to 
return to the Gamma Quadrant with him. 
shows her just how important he had been to 
her during their explorations. He saved her 
from an affliction then; now he reveals the 
physical damage that Vash would have suf- 
fered had Q not cured her. "It took a total of 
10 hours to get all that makeup on me." Het- 
rick explains. "I timed it. We shot the stages 
of Vash's deterioration in one day. and it was 
only on the screen for what. 30 seconds'? But 

"I liked Vash's 

sassinessand her 


I've always felt fortunate that Vash is a 
human being and not an alien of some kind. I 
don't normally have to go through all that 

Rather than naming her favorite Vash 
episode. Hetrick says various aspects of each 
one appeal to her. "They were all so different. 
•Q-Less' is primarily about my relationship 
with Q. 'Qpid' takes place in the world of 
Robin Hood. 'Captain's Holiday' is the char- 
acter's introduction. I take pride in that one 
because it worked as well as it did — well 
enough to make Vash more than just a one- 
time guest character." 

The Deep Space Nine producers called 
for Hetrick toward the end of the series' sec- 
ond season to check on her availability. Het- 
rick was ready to come back, but "then we 
didn't hear any more from them. They went 
off in another direction. But I would love to 
do another Vash episode. She's such a popu- 
lar character with the fans. I think it's 

because of her association with Picard; she 
was his first love interest on the show, and 

the on-screen romance was pretty specific." 
With the premiere of Star Trek: Voyager, 
the chance of a Vash return doubled. "That 
show takes place in a whole different area of 
space, but yes, if Vash were to hook up with 
Q again, it would be possible to see them 
both on Voyager." 

Fans' Friend 

The Star Trek convention circuit is a rela- 
tively new experience for Hetrick. A fan who 
attended her first appearance in Los Angeles 
helped break the ice. "I was quite nervous, 
and it showed," she relates. "Someone raised 
a hand and said, 'Are you nervous?' I said, 
'Yeah!' The fan said, 'Don't be. We won't 
bite you.' That was cute. What scared me 
most was that people were going to ask me 
questions and I wouldn't know the answers! 
The fans of Star Trek know so much about 
the show, things I don't know." 

At a recent convention in Germany, she 
appeared on stage with de Lancie. They wore 
headsets to hear the audience's questions 
translated into English. The only problem 
was that the headsets didn't work. Hetrick 
didn't mind. "We played with that for a few 
minutes, and that bought us some time! 
Then, we got a woman from the convention 
staff to come up on stage and translate for us. 
All in all, it was fun. 

"The first time I ever went to a conven- 
tion, I thought, 'Oh my God! Look at all 
these people in costumes!" But there's such a 
wonderful spirit, and they make many people 
happy. The whole philosophy behind Star 
Trek — the unity and the hope for the future — 
is present at conventions. It's very positive." 

Hetrick knew she wanted to be a per- 
former ever since childhood. She majored in 
music at Ohio State but quit after her first 
year. "Very much like Vash, I would skip 
classes, pull out my guitar, sing songs and get 

paid for it," she explains. "People would 
throw money in my guitar case. That's when 
I realized I didn't want to teach or 
something; I want to perform. So I 
quit school and just started perform- 
ing locally." 

She moved to New York at 19 to 
study again, but not music this time — 
she discovered acting. "I worked as a 
backup singer for a couple of bands, 
but there came a time when I had to 
make a choice about where my focus 
was. Doing both music and acting 
was difficult. The music was a late- 
night sort of experience, and then I 
would have to get up early to go to an 
audition or acting class. This was 
wearing me out. So, I decided not to 
pursue music and to work on acting." 
Five weeks after she came to Hol- 
lywood in 1989, she landed a part in 
the short-lived TV series Unsub, star- 
ring David Soul and M. Emmett 
Walsh. After that came LA. Law, on 
which she played Conine Becker for 
two years. Other TV appearances 
include multiple episodes of Civil 
Wars and Bodies of Evidence. Hetrick 
recently completed filming And Then 
There Was One, a movie for Lifetime Televi- 
sion, and Under the Gun, a telefilm for the 
Disney Channel. 

"I really want to make the crossover into 
feature films," lennifer Hetrick comments. "I 
would love to have a career like Linda 
Fiorentino's [The Last Seduction]. So far, I 
would say that Vash has been my favorite 
character I've played, and I mean that sin- 

According to Hetrick, Vash and Quark 
share "a mutual respect for their own 

cerely. I've played many different types of 
people, but Vash is the one where I've had 
the most fun." -^f 

STARLOG/November 1995 57 

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Almost a half-century ago, Terry Moore 
befriended Mr. Joseph Young of Africa. 

Terry Moore 
loves all the 
people who 
made her a 
part of movie 

In 1933, Beauty tamed the Beast in one of 
the greatest motion pictures of all time, 
RKO 's King Kong. The fabulous fable was 
the collaborative effort of adventuresome 
moviemakers Merian C. Cooper and Ernest 
B. Schoedsack, with special FX by stop 
motion animation wiz Willis H. O'Brien. 
Their same-year-sequel The Son of Kong 
failed to re-create the magical quality of 
Kong, but 15 xears later, the three men 
reunited — along with Kong star Robert Arm- 
strong and FX ace Ray Hanyhausen—for the 

classic Mighty Joe Young. 
And taming the Beast in 
this "kinder, gentler" 
slice of 'marvelous monkey 
business was former child 
actress Terry Moore. 

Born Helen Koford, 
the LA native worked as a 
model before she made 
her film debut at 11 in 20th Century Fox's 
Maryland (1940). Throughout the 1940s, she 
worked under a variety of names (her own, 
Judy Ford and Jan Ford) before settling on 
"Terrv Moore" in 1948. On loanout from 
Columbia, she played Jill Young in Mighty 
Joe Young, then began climbing the show biz 
ladder of success, earning an Oscar nomina- 
tion for Come Back. Little Sheba (1952) and 
co-starring in many other films, including 
Man on a Tightrope (1953), Daddy Long 
Legs (1955) and Peyton Place (1957). In the 

1970s, she was in the news more than she was 
in motion pictures, asserting that she was the 
secret wife of the late billionaire Howard 
Hughes, but she 's back on camera now with a 
vengeance, and has been recently offered a 
second opportunity to act opposite Mr. 
Joseph Young of Africa in Disney's proposed 
new version o/Mighty Joe Young. 

STARLOG: Do you recall how you landed 
your part in Mighty Joe Young? 
TERRY MOORE: Yes, I do, and it was very 
funny. I went over and I met with the director 
"Monte" [Ernest B.] Schoedsack and Merian 
C. Cooper. I met 'em on what was the 

TOM WEAVER, veteran STARLOG corre- 
spondent, is the author o/They Fought in the 
Creature Features (McFarland, S38.50). He 
profiled William Alland in STARLOG #217- 

STXRLOG/November 1995 59 

Selznick lot. which was RKO-Pathe 
later; it was then the old Selznick Stu- 
dios that looks like Gone With the 
Wind. We were on the backlot, and 
Merian C. Cooper said. "Can I see you 
run? Down to the end of the lot and 
back." I said sure, kicked off my shoes 
and ran. I mean, I ran ! I went back and 
forth and he said, "You've got the 
role." Somebody else said. "Wait, 
wait. We've already hired a girl for the 
role." Cooper said, "Pay her off. Terry 
has the role, she runs like a deer." So. 
I aot the role because I ran like a deer 

STARLOG: Had they already done 
any shooting? Was the actress you 
replaced already acting in the movie? 
MOORE: No. but they had hired her 
and signed a contract, and they had to 
pay her in full. I knew who it was at 
the time, and if I heard her name 
again, I'm sure I would remember. 
STARLOG: Mighty Joe Young was 
your second picture under the name 
Terry Moore. 

MOORE: That's right. The Return of 
October [1948] was my first, Mighty- 
Joe Young was my second and my third was 
another loanout [from Columbia] to George 
Pal called The Great Rupert [1950], opposite 
Jimmy Durante and a squirrel! 
STARLOG: Had Cooper seen you in some 
other picture? Is that why he went after you? 
MOORE: That could be. He must have seen 
some of Return of October, or something, 
because he called directly to ask me to come 
over there. That has to be the way it hap- 

STARLOG: Did you have any contact with 
John Ford, who executive-produced? 
MOORE: Yes, he would come over and 
visit, and he was really nice. Let me tell you 
something, these were the most generous 
people I've ever seen in my whole life. But it 
was really funny: Merian C. Cooper was a 
general — General Cooper — and he used to 
get mad. When he would get mad, when the 
extras wouldn't do what he wanted or some- 
thing, he would throw his hat on the floor and 
he would jump up and down on his hat! He 
said, "Don't get me 
any of these S50-a- 
day extras, get me 
S250 extras, the better 
ones!" They said, "It's 
a waste of money," 
and that's when he 
would jump up and 
down on his hat and 
he would say, "It's my. 
money, I'll do with it 
what I want!" So they 
got the same extras, 
they just paid 'em 
more [laughs] ! He 
would really have 
these horrible temper 
tantrums, but he was 
adorable 1 . And they 
would have big par- 
ties: On my birthday 
(I turned 18 or 19 on 
that film), they had a 
huge party for me. 
This was a family — 
when the movie was 
over, these people still 
liked you. you were 
still invited to every- 
thing, you were still 
their friend. You were 
with them forever. 

STARLOG: How about Schoedsack? How 
did he treat you? 

MOORE: "Monte" Schoedsack and his wife 
Ruth liked me so much: Ruth wrote King 
Kong and Mighty Joe Young. During World 
War n. Monte had an accident that affected 
his eyesight, and he could only see shadows 
on rainy days. So the first rainy day of every 
year, he took me to lunch at Bob Burns 
[restaurant]. His wife would get him all ready 
to come with me. I would come over and pick 
him up and we would go to Bob Burns. And 
then later, when his eyes got even worse, he 
turned completely to sound and he built the 
most perfect sound system in his house — 
there were speakers everywhere. I would go 
over there once a week and he taught me 
music appreciation to the day he died. Monte 
was at one time a soldier of fortune, and he 
had done everything, he was really a tough 
guy. And when we went to the premiere of 
Mighty Joe Young together, all the kids came 
up and asked him. "Are you Mighty Joe 
Young?" He was 6'6" and the kids all thought 
he was the gorilla, dressed up in a suit 
[laughs] ! 

STARLOG: So. you knew him for the rest of 
his life. 

MOORE: Yes. Sometimes I would go over 
there and Ruth would fix Monte and me 
lunch, she would serve us and we would sit in 
the living room — she thought it was so cute, I 
was like his "baby." And it was so sad — his 
wife died first. He had one of the models of 
Mighty Joe Young under glass and he had 
promised it to me. but when she died, his 
Mexican maid stole everything. That model, 
and everything he had. (isn't that awful, that 
someone you're paying would steal from a 
blind man?) Of course, she didn't know its 
worth, she probably gave it to her kids to play 

STARLOG: How was his eyesight when he 
directed Mighty Joe Young . 

MOORE: I don't know how much eyesight 
he had then, but he didn't seem to have a 
problem. I think the cameraman [J. Roy 
Hunt] and everybody helped him. and maybe 
he did a lot of it by sound. He could probably 
see us as shadows, that's probably about it. 
Monte managed by himself. And Monte had 
been a top cameraman — in fact, when he shot 
King Kong, Chang [1927], She [1935] and all 
of those, he operated the camera and was the 

STARLOG: Was Howard Hughes running 
RKO when you made Mighty Joe Young? 
MOORE: No. when we made Mighty Joe 
Young. [RKO board chairman] Floyd Odium 
still had the studio. Howard Hughes bought 
RKO before Mighty Joe Young was released, 
but after it was "in the can." When I first met 
him. it hadn't been released yet. 
STARLOG: How did you like working with 
Robert Armstrong? 

MOORE: I loved him. Oh. we were such a 
family! Robert Armstrong was another one 
that Monte saw right 'til the day he died, and 
they were friends with Fay Wray — once you 
were their friend, you were their friend forev- 
er'. I think that "Sonny" [Cornelius Vander- 
bilt] Whitney must have put money into the 
picture, because he came to my birthday 
party and cast parties and everything after- 
wards, and I became good friends with him 
and with his wife Eleanor. Later, when I was 
in New York with my mother, they invited us 
to their home. They sent a car and chauffeur, 
which I thought was very nice, and we were 
chauffeured out to the big Whitney estate, a 
lavish country home about a hour's drive 
from New York City. When I came to the sta- 
bles. I went up to the door and knocked, I 
thought that was their home! The place was 
just gorgeous. 

STARLOG: Mighty Joe Young was Ben 
Johnson's first real acting opportunity. How 
was he to work with? 

MOORE: Oh. Ben was wonderful, I got the 
biasest kick out of him. I said. "Ben. how did 



Now in her sixth 
decade as an actress. 

Moore still acts in 


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you get in pictures?" and he said. "You 
remember that there picture The Outlaw 
[1943]?" I said yes. thinking he probably did 
the second or third lead in it. He said. "I 
brought the horses out for that there picture." 

[Laughs.] And then he was "discovered" the 
same way John Wayne was. he was a cowboy 
and he was doing props and he was discov- 
ered by John Ford. And Ford cast him in the 
[Mighty Joe Young] role. 

STARLOG: Any sort of "first- 
picture jitters" on Johnson's 

MOORE: Not at all. Not when 
you're the world's champion calf 
roper, and you've ridden broncs 
and everything! He was just as 
calm as could be. He has never 
changed, he's still the same, he's 
still a good friend of mine. 
STARLOG: Did you watch the 
shooting of the scenes where the 
cowboys try to lasso Mighty Joe 

MOORE: Yes, I did. And that 
was no problem for Ben. 'cause 
he was a champion — he was bet- 
ter than any of the other guys in 
that scene, because that's what 
he was. He still holds the record 
for calf roping. 

STARLOG: And how about act- 
ing with Mighty Joe Young? 
MOORE: [laughs] Well. Joe 
wasn't there'. I would say (for 
instance). "Want a banana. Joe? 

STARLOG/November 1995 61 

Here's a banana!" and I would throw the 
banana, and there would be nothing there. For 
days, I would work with ziobody — Monte or 
somebody would tell me what to do and 
where to look, because they always knew 
where Joe would be. (That was when I came 
in contact with the special FX men, Ray Har- 
ryhausen and all those guys.) And so it was 
really fun to see the picture once it was all 
finished and see myself acting alongside Joe. 
By the way. I had a makeup man named 
Harry Ray, and Harry was drunk the whole 

Johnson] was one of the most famous stunt- 
men of all time. I think it might have been 
Dale Van Sickel. He made the jump and he 
broke his heels. I run in and you see me help- 
ing him off. and he was really leaning on 
me — he could never have done it alone. (I 
didn't know he was hurt so badly.) And that's 
the worst thing that a stuntman can break, his 

STARLOG: And your brother is also in the 

picture. He was a little guy who stayed passed 
out in my dressing room, he never made me 
up or anything — most of the picture. I had no 
makeup on at all. (I think for the scenes in the 
night club. I put on a little lipstick.) But I did- 
n't want to get Harry in trouble. Years later. I 
saw him again at RKO. when I was doing 
some other picture there, and he came up to 
me and thanked me. He had been to AA. he 
was all straightened out. and he told me I had 
saved his life, he told me that nobody else 
would have done that. And he's right, I don 't 
think anybody else would have! But I didn't 
care about makeup, so it didn't bother me. 
STARLOG: There's a lot of action in the 
movie. Were you ever asked to do anything 
you would have preferred not doing? 
MOORE: No. I did all my own stunts and 
everything. My mother also did a small role 
in the movie: In the scene where Joe rescues 
the child from the burning orphanage. Moth- 
er runs into the scene, takes the baby and runs 
off with it. By the way, in that scene, the 
stuntman who had to make a jump [for Ben 

MOORE: Yes, Wally [Koford] worked as an 
extra on the movie. He was probably one of 
the children in the orphanage scene. 
STARLOG: Dwayne Hickman is one of the 
kids in that scene. Did you know that? 
MOORE: No! But I know that Dwayne just 
recently said that he had worked extra in one 
of my movies. I co-starred with his brother 
Darryl in a movie at Eagle-Lion called The 
Devil on Wheels [1947], and that was before 
Mighty Joe Young. I went to all of Darryl's 
high school dances — he went to a Catholic 
high school — and when they would have the 
junior and senior proms, he was always my 
date. We always had a crush on each other. 
STARLOG: And you were in no danger in 
the burning-orphanage scenes? 
MOORE: No. Not that I know of, anyway. I 
could have been! I guess ignorance is bliss 
[laughs] ! 

STARLOG: Any memories of working with 
all of the strongmen in the night club scene? 
MOORE: Oh! I have such memories of that! 
They "adopted" me, and I was "their" little 

girl. Primo Camera thought it was so funny, 
he kept comparing his hands with mine and 
his feet with mine. (I wore a size four shoe 
and had tiny hands.) He would say. "Teee-ny 
ueee-ny" — he would talk like that, real deep. 
Primo Camera, the Swedish Angel and Man 
Mountain Dean sort of adopted me and they 
took me to all the wrestling matches — they 
used to take me to see Gorgeous George, and 
when they would be on shows like Truth or 
Consequences. I would go with 'em! I was 
their little mascot, and I spent a lot of time 
with all those guys, 
Wee Willie Davis 
and "Killer" Karl 
Davis and so on. In 
fact, I was just 
made a member of 
the Cauliflower 
Club, a club for 
retired boxers and 
wrestlers; they look 
out for one another 
and it's a really 
wonderful club. 
And every one of 
those guys in 
Mighty Joe Young 
was a member of 
the Cauliflower 
Club. They're all 
gone now. all of 

you to see the lions 
running loose on 
the night club sets? 
MOORE: I was 
around when the 
lions were there, 
and I'll tell you. a 
lot of people were 
clawed and hurt. A 
lot of people. 
cause they didn't 
take enough pre- 

MOORE: No, just because lions are very 
dangerous. I think they took the precautions, 
but I don't know that these people and the 
stuntmen took them as seriously as they 
should have. Generally, the ones that were 
hurt were the stuntmen who thought they 
knew lions. 

STARLOG: Looking back on Mighty Joe 
Young now, with so much more experience 
under your belt, what do you think of your 
performance in it? 

MOORE: I was just me. I had never had an 
acting lesson, I just acted since I was four 
years old. Children and dogs do what comes 
naturally [laughs] and I never worried about 
it, never gave it a thought. 
STARLOG: Did you watch the rushes on 
Mighty Joe Youngl 

MOORE: No. I wasn't even interested in 
seeing rushes. It's really funny, but to me 
Mighty Joe Young was a lark, just fun. I was 
acting opposite Joe, who wasn't there, the 
makeup man wasn't there [laughs], and I felt 
like I just went there and played. Ben was the 

62 STARLOG/November 1995 

Moore (seen here with Armstrong, 
Johnson and Nestor Paiva) believes that 
the proposed new Mighty Joe Young 
should be a sequel, not a remake. 

same way — nobody took it very seriously, 
nobody was "Method acting" or any of that! I 
never thought that this would become a 
famous movie or anything. Return of October 
and Come Back, Little Sheba and many other 
pictures I took very seriously, because you 
had to "'know your character" and everything. 
Well, I never thought of any of that with 
Mighty Joe Young, it was just like a party. (I 
often didn't understand what was happening. 
I hit my marks and that was it [laughs]'.) And 
the movie's shooting seemed to go on forever 
because, for one thing, Merian C. Cooper 
didn't mind spending money and didn't mind 
doing it until he got it right. 
STARLOG: Mighty Joe Young reportedly 
went $600,000 over budget. 
MOORE: Which was really a tremendous 
amount in those days. And it was mainly 
because Merian Cooper wouldn't like how 
the extras behaved, it was little things like 
that where he would just come on and say, 
"Well, shoot it over." 

STARLOG: What did you think of Mighty 
Joe Young when you saw it at the premiere? 
MOORE: Well. I still didn't know. I was too 
close to it. I had never seen King Kong — in 
fact. I didn't see King Kong until just a few 
years back — so I was thrilled to see a gorilla 
there and everything. But I wasn't at all 
glamourous, and I wanted to be like Rita 
Hayworth. so I was embarrassed at the way I 
looked. I thought I looked terrible! But now I 
look and I see a fresh face — I mean, youth 
can do anything, you don't need makeup. The 
"niceness" of it is the innocence and every- 
thing, but I didn't like the innocence. I want- 
ed to be sophisticated! So. I appreciate it now 
where I didn't then. 

STARLOG: What can you recall about pro- 
ducer George Pal and The Great Rupert. 
which you made that same year? 

Selected Photos: Courtesy Brunas Archives 

MOORE: I was crazy about him. Again, a 
real sweet guy, he was good to Mother — oh. 
he was just wonderful. With these [fantasy 
filmmakers], they were never into perfor- 
mances or anything like that, no one ever 
talked about that. It always seemed to me 
that, on those pictures, you just went and had 
a good time. 

STARLOG: What are some of the things 
your fans can look forward to at this point? 
MOORE: I just did a movie in Tennessee 
that was called the best script ever to come 
out of Yale University. It's called American 
Southern and I have a wonderful role in that: 
it's kind of modern Tennessee Williams. It'll 
be out at year's end. I'm supposed to do two 
more pictures in Tennessee, and I have two in 
Europe to do. And then I have my own TV 
show that's called Beverly Hills Nights that 
will be syndicated worldwide. 
STARLOG: And what have you heard about 
the new version of Mighty Joe Young! 
MOORE: Well, they're just writing the 
script now. and I got a letter telling me that 

they hope Ben Johnson 
and I will be in it. But I 
don't know in what way, 
because I don't think they 
really know themselves, 
because they're just start- 
ing on the script. 
STARLOG: But. does 
Mighty Joe Young really 
need to be redone? 
MOORE: Well, if it's a 
sequel, yes, that's fine, if 
they continue on. To be 
remade, no, I don't think 
so. (Look what happened 
when they tried to remake 
King Kong. It was a disas- 
ter.) I think the innocence 
and everything that they 
had in that picture would 
be difficult to re-create 
today — at 10 years old, 
my granddaughter knows 
more than Jill Young did! 
And let's face it, Mighty 
Joe Young was 
made by the cre- 
ators of King Kong\ 
Even with all their 
computer FX and 
everything. I'm 
sorry, I don 't think 
[the new one] is 
going to have the 
same feeling. A 
sequel is fine, it 
could be lovely, but 
I think if they try to 
remake it. it'll be a 
disaster. I don't 
think that anybody 
could do it finer 
than they did it [in 
1949]. And today. 
[Hollywood] being 
what it is. it would 
be just another 
movie; with them, 
it was their heart and soul. To them. Mighty- 
Joe Young really did live, and before the pic- 
ture was done, he really lived in me. And he 
has lived with me ever after — I told my kids 
that he was in Africa and he was my friend 
and that I visited him, and they loved the 

STARLOG: You've been in so many great 
movies — does it ever bug you that most of 
your fans think of you first, or maybe only, 
for Mighty Joe Young? 

MOORE: You know something? It did at 
first, because I thought that was the last 
movie I would ever be remembered by. And 
now I'm happy that I was in a classic, 
because at least I'm remembered [laughs]'. 
The stars who haven't been in a movie that 
has become an absolute classic, a movie that 
is played every week like Mighty Joe Young 
is — they can be forgotten more easily than 
someone that's in a Mighty Joe Young. So. I 
really love all those people who made me a 
part of motion picture history, and I really 
appreciate it. ^g 

STARLOG/November 1995 63 


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gle with new races for supremacy, before a 
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(continued from page t 

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As it celebrates its 30th year, 
these SF-TV creators rediscover 
the joys of getting Lost in Space. 



Thirty years ago, producer Irwin Allen 
launched the Jupiter 2 from Earth, out 
into space and into the imaginations of 
countless SF-TV fans. Lost in Space captured 
their hearts. 

The series, originally serious adventure, 
became more comedic throughout its three- 
year flight as a band of humans tried to find 
their way homeward in space. Its cast includ- 
ed the late Guy Williams as Professor John 
Robinson. June Lockhart as Maureen Robin- 
son, Mark Goddard as Major Don West and 
as the Robinson children. Angela Cartwright 
(Penny). Marta Kristen (Judy) and Bill Mumy 
(Will). Jonathan Harris, as the troublemaking 
Dr. Zachary Smith, and Bob May, as his 
comedic foil the Robot, 
rounded out the 

For Hollywood's profes 
sional writers and directors, 
getting Lost in Space seem- 
ed like a delightful experi- 
ence. Director Ezra Stone 
didn't know much about 
science fiction but , 
thought Lost in Space 
looked like fun. The for- 
mer actor (best known as 
teenager Henry Aldrich on 
the popular radio show) 
looked back at the SF series in 
an interview shortly before his 
death. "I saw that Irwin Allen 
had a couple of series, Lost in 

Once they got lost, Bill 
Mumy and Jonathan Harris 
were always ready to 
explore the unknown. 


Space and Voyage, that 
were top-rated," he 
said. "I wrote him a let- 
ter. He showed my let- 
ter to his lieutenants at 
a production meeting 
~ to prove that there 
were directors who 
wanted to work on his 
shows." Stone was 
hired and had to famil- 
iarize himself with Lost 
in Space. "I wasn't a regu- 
lar viewer. I was never 
into and I'm still not into 
SF. I still haven't seen 
Star Wars or 2001." 

According to director Ezra Stone, Guy Williams (right) was unhappy with "the way the 
series had gone." 

Stone's friend, the late director Justus 
Addiss. was working on Voyage, "and Addiss 
had hair-raising stories of working with Irwin 
and so did another director friend, Don 
Richardson. But I looked at it as a challenge, 
and Irwin and I hit it off. He didn't get in any- 
body's hair when he came on the set. Working 
on the show was a hoot." 

Asked to assess his episodes (which began 
in the second season), Stone recalls Margaret 
Stewart's "The Space Vikings" as "A fun 
show to do. That was with Irwin's wife-to-be. 
Sheila Matthews. We got her up on a [fake] 
horse and she sang. She did her own singing. 
As I recall, she was an opera singer." 

His next assignment was with guest 
Francine York, who played the leader of sev- 
eral liberated space women who enslave the 
Robinson men. "We had a near miss on that 
one when we blew up Francine's temple. I 
wanted her in the foreground as we blew it 
up. It was a complicated set of explosive rig- 
ging that the special FX man, Stu Moody, set 
up. He was a genius with explosives, and we 
rehearsed the scene and it looked good. So, 
we rolled the camera and the cue came for the 
explosion. Francine was a foot-and-a-half off 
her mark, closer to the temple than she was 
supposed to be. A section of the temple had a 
little too much trajectory and barely missed 
her. That was hairy. It was made of hard plas- 
ter and it could have broken her shoulder. But 
Francine was a professional and didn't give 
way, and I didn't yell cut. We ended up with 
an exciting take." 

"'The Phantom Family" almost ended 
Stone's longtime friendship with guest star 
Alan Hewitt, who played an amphibian scien- 
tist experimenting with human emotions. "I 
was very embarrassed by that. Alan, my dear 

MARK PHILLIPS, veteran STARLOG corre- 
spondent, began this two-part salute in issue 

friend and colleague from my Broadway- 
days, was an excellent actor, and I picked him 
for this role. Irwin approved him, and they put 
him into that monster costume. Alan was 
absolutely furious. It didn't make any sense to 
him. He kept saying, 'Anybody could be 
inside this thing. Why not just dub my voice?* 
It was one of [costume designer] Paul Zastup- 
nevich's lesser costume creations. Alan was 
very uncomfortable and hot inside this thing. 
There wasn't any movement in the eyes or 
mouth. Alan had no idea it would be like this 
and it was unbearable for him. I almost lost a 
friend, but his dismay didn't last too long," 
Stone chuckled. "It was just during that week 
of shooting." 

John Carradine was a kindly alien who 
befriends Penny in "The Galaxy Gift." "I had 
worked with Carradine on The Ministers. He 
was very frail and having severe problems 
with one of his wives. But he always knew his 
style and he did well with his extended dia- 
logue. The problem was getting him to the set 
on time. I favored him as much as I could so 
that his energy wouldn't be taxed, and he 
appreciated that." 

Stone's third-season segments included 
"The Promised Planet," in which aliens, pos- 
ing as space hippies, try to kidnap Will and 
Penny. The episode doesn't bring back any 

Bob and Wanda Duncan's "The Time 
Merchant" cast John Crawford as an alien 
who sends Dr. Smith back into time. "John 
Crawford was my neighbor. He lived across 
the street and we did a good bit of rehearsing 
key scenes around my swimming pool. That 
was fun because seldom in shooting an hour 
show in six days do you get the time to really 
work with an actor. Our roots were both in 
theater, and the rehearsal process is a very 
valuable way for us to work as opposed to 
actors learning their lines as the scenery is 
being lit. John was excellent in that episode." 

As the nicest mother in outer space, June 
Lockhart added a bit of maternal love to 
the program. 

"Fugitives in Space" sentenced Don and 
Dr. Smith to slave labor on a hot planet. Stone 
labored while working with a guest star he 
found unprofessional. The actor was pre-///// 
Street Blues star Michael Conrad, cast as a 
fierce gorilla convict. The experience stirs a 
reluctant memory. "You're not to speak ill of 
the dead," Stone said, "but he was one of the 
worst actors I've had to deal with. Not from 
the standpoint of skill, but attitude. He was 
very disruptive and stubborn. He did not han- 
dle himself too professionally. The last thing 
a director needs is a superficial Method actor. 
Conrad looked good for the role, a tall fellow 
with a good voice and a good use of his body, 
but he made it tough on us. If a performer's 
trying to deliver and has trouble, you try to 
resolve it by talking to him. But when you're 
faced with a performer who says this show is 
crap and I'm mad as hell at my agent for get- 
ting me involved in this, well. . .who needs it? 
I let his venom come out in the performance. 
I was glad to have it in the can." 

The last episode filmed for Lost in Space 
was "Junkman in Space," with the late Mar- 
cel Hillaire as a metallic alien who hijacks the 
Jupiter 2. "Marcel was a nice, gentle soul. If I 
recall correctly, there was a wrap party and 
everybody fully expected to be back for a 
fourth year." 

Lost Directors 

Stone also enjoyed working with the regu- 
lars. "Jonathan made Dr. Smith the starring 
role. He shaped the character with his skills 
and style. He spent considerable time revising 
scenes before we shot them. It was obvious to 
me that he was the reason why people were 
watching. As a director, I found it expedient 
to give him full reign. In the scenes with 
Jonathan, whether with Billy Mumy and the 
Robot, or with the villain, that was money in 
the bank. Things may go wrong with the FX 
or camera or liahts but as far as talent was 

68 STARLOG/November 1995 

concerned, Jonathan was right on top. He 
knew what he was doing and did so without 

Another efficient performer in Stone's 
eyes was Mumy, of whom James Stewart 
once remarked to TV Guide in 1972, "He's 
the only child actor worth a damn." Stone 
notes, "Billy was a verv briaht. affable. 

exceptional actor. His work always had an 
honesty and truth to it. It wasn't sham or man- 
ufactured or superficial. Billy had a very 
appealing personality and he used to create 
his own Lost in Space comic strips on the 
set." Informed that Mumy wrote the now- 
defunct but popular Innovation Space comic 
book. Stone was astonished. "Well, he started 

that while on the set as a fun thing to do. He 
drew the show's characters and people on the 
crew. He was very creative." 

Stone was aware of Lost in Space's cast 
conflicts. "There was no love lost between 
Jonathan and some of the cast." he noted. "It 
was Jonathan against Guy Williams, June 
Lockhart and Mark Goddard. I know that 
Guy and June were very unhappy with the 
way the series had gone. The focus had 
switched from them to Jonathan and from sci- 
ence-fiction adventure to comedy. I never got 
close to their side of the team. It was a divid- 
ed house, to say the least." 

The director, however, chose to avoid the 
series' politics. Although Lost in Space often 
offered moral lessons and messages, Stone 
said, "I never analyzed or admired the plots 
from that standpoint. I was more interested in 
the spectacular: the FX and the relationship 
between Jonathan and the lead guests. I 
enjoyed the tongue-in-cheek, but the stories 
involving space science didn't register for 

Director Robert Douglas ("The Toymak- 
er") begs off from his Lost in Space experi- 
ence with, "I recall the series as being one of 
the most outstanding wastes of time that I 
have ever encountered." Herman Groves, 
who scripted the highest-rated Lost in Space 
segment ("The Sky is Falling," about a fami- 
ly of alien telepaths), says, "During my 
career, I wrote nearly 200 scripts. Episodic 
TV is formula writing. I recall absolutely 
nothing about this episode." 

Seymour Robbie had the task of directing 
dozens of "The Mechanical Men," which pit- 
ted the familv against miniature versions of 

In "Fugitives in Space," a pre-H/7/ Street Blues Michael 
Conrad (as the gorilla convict) really gave Stone a hard time. 

STARLOG/November 7995 69 

Marta Kristen and Mark Goddard provided 
a chaste bit of romantic interest. The 
Robot chaperoned. 

the Robot. "I had recently moved to LA from 
New York City, where I had directed some 
fairly respectable shows like Omnibus and 
Studio One" Robbie recalls. "I was handed a 
script where I had to stage a bunch of robots. 
The whole episode seemed silly to me, 
although I enjoyed working with the very 
professional cast of regulars. The production 
office was extremely nervous, checking my 
progress when shooting. Time was money. 
No one could believe I was actually ahead of 
their planned schedule!" 

Space Lovers 

The series remains a high point for Robert 
Hamner (STARLOG #199). "My favorite sin- 
gle show I ever wrote for Irwin was a Lost in 
Space segment called 'Deadliest of the 
Species,' " asserts the writer, who also script- 
ed entries of Allen's Time Tunnel and Voyage 
to the Bottom of the Sea. "Tony Wilson was 
one of my best friends. He was a brilliant guy 
and Irwin was in awe of him. Tony became 
the guiding force for Lost in Space. One day, 
Tony and I were having lunch and I thought 
of a last line for a Lost in Space episode. We 
both liked the line, so I wrote an entire hour's 
script just to get up to that last line. 

"That episode ["Deadliest of the Species"] 
had the kid and Robot come across a trash 
heap of metal pieces. They put the metal 
together and it turns out to be a female robot. 
The Robot falls in love with her, but she turns 
out to be evil. She's going to destroy the 
world. At the end. the Robot has to destroy 
her to save the family. The last line comes 
when Will says, 'Gee Robot, I know you were 
in love with her, but I'm glad you realized 
what she really was.' He answers, 'Yes, I was 
in love with her. But in the end, she turned out 
to be just another pretty face.' " 

Director Robert Douglas didn't want to discuss his Lost work, "one of the most 
outstanding wastes of time I have ever encountered." 

The episode also allowed Hamner to visit 
the set, as he recalls. "The guy inside the 
Robot [May] never came out of the Robot. 
He felt safe there. They would come back 
from lunch and find him asleep inside the 

around but after awhile, you would end up 
with what you had in the first place. That 
went with the territory with Irwin." 

The writer appreciated Allen's loyalty at a 
frustrating time when he was scripting "The 
Human Computer" for Voyage's first year. 

Director Stone rehearsed scenes with "The Time Merchant" guest star John Crawford 
(left), his neighbor, at home around a swimming pool. 

According to Hamner, "Lost in Space was 
a fun show. It had a certain chemistry. The 
entire show was two characters — the kid and 
the Robot. They were two brothers and they 
got into Tom Sawyer and Huck Finn kind of 

Hamner enjoyed working with producer 
Allen, laughing over occasional glitches. 
"With me, he was always changing the script 
at the last minute. You would change it all 

"Producer Allan Baiter was left in charge 
because Irwin was off filming the pilot for 
Lost in Space. I wrote the Voyage script and 
had written a part for an actor friend of mine, 
Perry Lopez [the role eventually went to 
Harry Millard]. I made a few changes in the 
script that Baiter and director James Gold- 
stone wanted and then several more and 
more. Finally, after eight drafts, I felt they 
were screwins me around. I said, 'Stop! No 

70 STARLOG/November 1995 

Even today, Dr. Smith remains the most popular character. "Jonathan succeeded in 
making him something special." writer Robert Duncan says. 

more. Goodbye!" I went home. Irwin imme- 
diately called me. "Bob. I can't believe this. 
You're not gonna do another draft?' I said, 
'Believe it, Irwin." He said. "Come down to 
the set and talk to me!" I replied, 'No, 
because you're busy directing the pilot. This 
is very troubling to me. and you'll be talking 
to me between takes." Irwin said. "I promise. 
If you come down to the set, I will stop 

"So, I went down there, and he's in the 
middle of a scene with 500 extras, directing 
everything from a 50-foot crane. He saw me, 
waved and called cut. He came down from 
the crane. Even though time was money and 
all of these people were waiting. Irwin lis- 
tened to me as I explained all of these 
rewrites. He went crazy when he heard this, 
and we put the script back to what it was 

Lost Missions 

Some writers prefer not to discuss their 
days of Space travel, including Jackson 
Gillis, Norman Lessing and producer 
William Faralla. Writers Barney Slater. Allan 
Baiter, Peter Packer, Michael Fessier and 
William Welch and directors Irving Moore. 
Sobey Martin and Tony Leader have died. 
Anthony Wilson later created the successful 
George Peppard series Banacek. "I remem- 
ber the last time I saw Tony," says Jack Tur- 
ley of his friend, who succumbed to cancer. 
"He was coming out of an antique store on 
Sunset Boulevard as I drove by. I whipped 
over to the curb and tried to start a conversa- 
tion. Tony looked detached and pale. He 
shied away from me on some quick pretense 
and I didn't press him. I think he didn't want 
me to see him that way or to admit he was 
fading. It's a sad remembrance." 

By the time Lost in Space had neared the 
end of its three-year run, such well-known 
actors as Michael Rennie. Mercedes 

McCambridge, Werner Klemperer, Michael 
Ansara, Warren Oates, Wally Cox and Hans 
Conreid had appeared on the show. Future 
stars, including Kurt Russell, Daniel J. Tra- 
vanti, Arte Johnson and Lyle Waggoner, had 
also guested. The series had been a success 

no secret that he hated the show. It was one of 
the greatest mistakes CBS ever made." 

At the time, CBS executive Mike Dann 
explained that the series had pulled good rat- 
ings for several seasons and had simply "run 
out of ratings steam." It was true that the 
expensive additions of a space pod and 
increased special FX didn't prevent the third 
season from getting off to a blundering start 
in the ratings. The ratings improved dramati- 
cally by mid-season, and the series had gar- 
nered some of its best ratings during 
December 1967 and January 1968, which 
explained why Space was considered a shoo- 
in for a fourth year. 

However, the best-rated episodes 
remained the more whimsical excursions 
such as "Space Beauty" (Judy enters an inter- 
galactic beauty contest) and "A Day at the 
Zoo" (the family is caged in a galactic zoo). 
The more serious efforts, including "Con- 
demned of Space" (the Robinsons find a 
prison ship) and "Flight into the Future" (a 
tale of alien illusions that clocked Lost in 
Space's lowest rating ever) yielded disap- 
pointing viewer turn-outs. 

Sold into syndication in 1969, Lost in 
Space was popular in early evening and 
weekend time slots. By the late 1970s, the 
series was much harder to find and for the 
general public, harder to remember. During a 
network game show in 1978, a contestant 
was asked to name the TV family lost in 
space for three years. The contestant bit his 

Why not a Lost in Space movie? "It couldn't be any more weird than it was originally,' 
JackTurley quips. 

for CBS, and several theories surfaced as to 
why it was cancelled in 1968. One persistent 
rumor was that Lost in Space was becoming 
too expensive to make. 

"No, it wasn 't money," Hamner empha- 
sizes. "The real reason was that Bill Paley, 
the head of CBS, personally hated Lost in 
Space. He just didn't get it. Paley was a very 
sophisticated guy and he didn't understand 
its appeal. He didn't want it on his network, 
so they cancelled it. In this business, people 
know everything about everyone, and it was 

lip for a minute, then shouted, "The Smiths!" 
A UFO documentary that same year (Myster- 
ies From Beyond Earth) used Lost in Space 
to boost its credibility on unsuspecting view- 
ers. When its host, actor/director Lawrence 
Dobkin, showed examples of purported UFO 
snapshots, one was clearly a shot of the 
Jupiter 2 in flight from the episode "Island in 
the Sky." The documentary tried to pass it off 
as a legitimate photo of a UFO. The incident 
at least underlined the realism of L.B. 
Abbott's special FX work. 

STARLOG/November 1995 71 

The series is still climbing an uphill battle 
for respectability. In 1993, after kidding the 
production values of Lost in Space in his 
monologue. Tonight Show host Jay Leno 
asked his audience to applaud if they wanted 
to see a new Lost in Space film. There was 
dead silence. However, in recent years, other 
celebrities have proudly proclaimed Lost in 
Space as their favorite TV series. This varied 
lot includes talk show hostess Jenny Jones, 
actors Luke Perry and Malcolm Jamal Warn- 
er and show biz entrepreneur Merv Griffin. 

Kristen didn't actually work in outer 
space, although one UFO documentary 
used a Jupiter 2 shot as proof of real 
close encounters. 

During the 1980s, the Space cast reunited 
for appearances on TV's Family Feud and 
various talk shows. The saga of the Robin- 
sons was introduced to a new generation in 
1989 thanks to broadcasts on the USA cable 
network. The 1990s featured cast appear- 
ances at conventions. Innovation's success- 
ful comic book series (which only ended 
because the company went out of business) 
and the release of 24 episodes from Colum- 
bia House Video. New Line Cinema is now 
planning a feature film version of Lost in 
Space, written by Akiva (Batman Forever) 

Space writers 

Those people who wrote and directed Lost 
in Space have, of course, gone on to other 

Bob and Wanda Duncan began their TV 
writing career together in the 1950s, selling 
their first script to The U. S. Steel Hour. "We 
took it all very seriously," Bob Duncan says. 
"We held a high view of television and its 
possibilities as an art form. The live teleplays 
we wrote were concerned with what we per- 
ceived to be the troubling areas in American 
society. By 1959, it was apparent that televi- 
sion was going to become a filmed medium. 
It had occurred to someone that reruns could 
make a lot of money." 

Although the pair wrote for some contro- 
versial dramas, including Slattery's People 
and Dr. Kildare, "the majority of TV shows 
fell into the definition of 'mind candy.' We 
were told that no television show should be 
more engrossing than the commercials. The 
audience was individualized as a man who 
comes home from work, sits down with his 
family and a beer. Any show that might 
depress viewers was long gone." 

Ezra Stone, who was living in Pennsylva- .s 
nia at the time of his death in an auto accident g 
in March 1994, kept busy as president and| 
director of the David Library of the American f 
Revolution, which his father founded. J 
Stone's thoughts on a possible motion picture ° 
version of Lost in Space? "More power to < 
them if it means jobs for actors," he said. "I 
would be surprised if it turned out to be a 
megahit like Batman or other SF films. I 
regarded Lost in Space as something of a 
kids' show. It was for young people into that 
genre or who enjoy the oddball things that 
happen in that kind of series." 

Shimon Wincelberg, who penned Lost in 
Space's original pilot, has completed a novel 
titled The Siberian Bachelor/The True Adven- 
tures of Yakov Marateck, Outlaw. "It's based 
on 28 notebooks filled by my wife's father, 
about his picaresque encounters as a soldier, 
revolutionary, prisoner and fugitive in Siberia 
at the beginning of this century." 

The writer feels a new Lost in Space 
movie may lack an essential ingredient. 
"What makes some series, like Lost in Space, 
memorable and popular some 30 years later is 
some mysterious chemistry between the char- 
acters and the actors who played them, as 
well as the vision of the producers and writers 
who developed the pilot. It's that elusive 
quality which is so easily lost or travestied or 
misunderstood when people today attempt a 
remake for the big screen. With Star Trek, it 

worked because the old cast and staff were 
largely still intact." 

Jack Turley, scripter of many fine Fugitive 
segments, saw the Fugitive film starring Har- 
rison Ford as the on-the-run Dr. Kimble. "I 
thought it was great. Well-directed and acted. 
But even though I wrote a number of TV 
episodes, I didn't connect them in any way 
with what I saw on the screen. I guess David 
Janssen was too deeply ingrained into my 
subconscious." Turley, who co-wrote Empire 
of the Ants and recently finished a five-year 
stint scripting daytime's General Hospital, is 
now writing screenplays. 

Innovation's Losf in Space comic was a 
commercial success. It only ended 
because the firm folded. 

His feelings on a Lost in Space movie? 
"Why not? It couldn't be any more weird than 
it was originally. It'll be painted on a much 
bigger canvas, with spectacular special FX 
and lots of bizarre, big name characters, a la 
Batman. But peel off the wrapping and it'll 
still be a comic book. And in my more mature 

hindsight, that mav not be so bad." 


For other significant Lost in Space 

interviews, see these past issues: 


Guy Williams (#114) 

June Lockhart (#72, #198) 

Jonathan Harris (#96) 

Mark Goddard (#190, STARLOG 


Bill Mumy (#48, #163, #214) 

Marta Kristen (#135) 

Angela Cartwright (#21) 

Bob May, the Robot (#57, #201) 

Costume designer Paul Zastupnevich (#187) 

72 STASLOG/November 1995 


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Opening The X-Files, 

Rob Bowman knows 

what you don't see 

can scare you. 

After traveling through the 
depths of space with the 
crew of the Enterprise, 
and landing on Earth with the 
Tenctonese in Alien Nation, Rob 
Bowman now lurks in the shad- 
ows surrounding The X-Files. 
Fresh from a vacation in Mexi- 
co, Bowman is approaching his 
second year as a producer/direc- 
tor on The X-Files with re- 
newed confidence, ready to step 
into the smoke and chill the 
spines of millions of viewers. 

In 1987, at age 29. Bowman 
landed his first assignment as a 
freelance director, an episode of 
Star Trek: The Next Generation. 
After proving his mettle with 12 
segments (which he discussed 
in STARLOG #136), Bowman 
moved on, and over the years 
has directed episodes of Probe, 
The Hat Squad, Alien Nation 
and the new Dark Shadows, as 
well as Airborne, a 1993 teen 
skateboarding feature. 

Bowman's arrival at The X- 
Files came after a stint on Man- 
cuso, F.B.I. Producer Robert 
Goodwin, who worked on both 
series, was the man responsible 
for bringing Bowman to Van- 
couver, British Columbia to 
film the first-season X-Files 
episode "GenderBender." 

"The teasers I had seen for 
the pilot looked extraordinary." 
says Bowman. "I was very 
interested in doing the show. 
There was already very positive 
word of mouth around town that 
it was a great show for directors 
to work on. My tastes are on the 
darker side, and I always loved 
spooky, creepy things, so I was 
looking for an opportunity to do it." 

Bowman came to admire the series' high- 
quality production values and scripts, which 

FRANK GARCIA. Canadian writer, pre- 
viewed The Outer Limits in SF EXPLORER 

76 STARLOG/November 1995 

he found consistently excellent. "Chris 
Carter [X-Files ' executive producer/creator] 
has a very clear idea of what he wants," the 
director notes. "He's not afraid to try things. 
He's very specific with his staff of writers, 
maybe more so than many people who are 
willing to try out risky things. He knows how- 

to pull them off, so we can 
continue doing unusual stories 
that challenge some things 
that people take for granted, in 
a very exciting, visually 
dynamic fashion. I think Chris 
is gifted with the idea of word 
and vision and is able to pro- 
duce a series that not only tan- 
talizes the mind but is also 
very visually appealing." 

During the second year, 
when two of The X-Files' cel- 
ebrated staffers, James Wong 
and Glen Morgan, exited to 
create their own series. Space 
(see page 40), Carter had a gap 
to fill. He needed a recurring 
director and producer who 
could take on the show's 
demanding hours and creative 

"Chris was looking for a 
director to stay aboard who he 
could trust, instead of bringing 
in a fresh voice for the show," 
explains Bowman. "David 
Nutter was already in place 
doing that, but he was leaving 
[to direct the Space pilot for 
Wong and Morgan], and Chris 
didn't want to run this type of 
visually driven series without 
someone who could champion 
the cause. I had already done 
'GenderBender' and 'Sleep- 
less.' Someone between 
Chris, [supervising producer] 
Howard Gordon and [co-exec- 
utive producer] Robert Good- 
win thought that I was insane 
enough to do it!" 

Bowman recalls that he 
was on the set of VR.5 at the 
time the call came in to join 
The X-Files. "Knowing the 
hours I did on 'GenderBen- 
der' and 'Sleepless,' I knew I 
was going to have to give up 
any chance of a personal life. 
But I thought, 'That's OK.' I 
was willing to do that." He 
now shares production duties 
with fellow director Kim 

Flattered to be chosen, 
Bowman reveals that his taste for dark mat- 
ters was, if anything, a plus on The X-Files. 
"I explore to an extreme the absence of light 
in the frame," he says. "It's the absence of 
light, information and detail. If you tell the 
audience there's something dangerous in the 
building, but you're not sure where, you have 

"I thought 'F 
Bones' was a cla 
way of doing a voodoo 
story," Bowman says. 

to search it out. If all the lights are on in the 
building, it doesn't create much mood or sus- 
pense. If you could see ever, little corner, 
then you could pretty much find that crea- 
ture. The trick is to draw it out. and make the 
audience feel like it could come from any- 
where. By doing that, you create real jeop- 
ardy for your characters, and therefore, a 
more dramatic and suspenseful show. That's 
what people love! They want to feel anything 
can happen at any moment. Shadows provide 

Creating Chaos 

The secret to Bow man's methods of cre- 
ating madness la> in self-restraint. "It's just a 
matter of following the story and letting the 
camera sometimes dictate the attitude or tone 
of the scene." says Bowman. "You take a 
camera from an ordinary position and you 
yank it up to 15 or 18 feet and point it straight 
down. Obviously, things are getting slightly 
out of hand. You're trying to create chaos and 
dynamics outside the norm. You can't, in my 
opinion, always have a camera in a normal 
position. If you"re trying to create chaos, 
pandemonium and fear, you've got to yank it 
around, sometimes very low or very high or 
fast moves." 

These photographic tricks are prominent- 
ly featured in Bowman-directed episodes 
like "Sleepless." "Fresh Bones" and "End 
Game." "Like in any good piece of music, 
you can't always be kinetic, because then 
you become numb to it. The trick is to show 
restraint. When you're just telling the story 
via the dialogue of the actors and characteri- 
zations, it's important for the director not to 
get in the way. not to do anything overly styl- 
ized or fancy because then you're distracting 
from the true story. This is a drawback of the 
MTV generation. 

"There are many directors out there who 
think that everything all the time is good. It's 
not. It's certainly a way of shooting rock 
videos, and it's certainly a way of doing 
movies, but the best way of telling a story is 
to have a tremendous amount of self- 
restraint. If you consider yourself a painter, 
you can't use bold colors all the time, you 
have to have some medium-range colors. So 
when you brina all the bold colors, or do that 

cymbal crash, then it stands 
out. It creates dynamics. 

"What I bring to the 
show is a knowledge of 
when to use restraint, and 
that a fancy shot is not 
always what's needed, to let 
the actors tell the story, to let 
the script tell the story. It's 
just as important as a crane 
shot or dramatic backlighting. That's what 
really pulls you through the story." 

Bowman acknowledges the strong visuals 
contributed by fellow directors Manners and 
Nutter. "They don't necessarily need me to 
tell them what to do," he says. "We all try and 
help each other try a little harder. I'm sure 
there's a little bit of under-the-surface com- 
petition, of who's the better one, but the 
beauty of it is that we make each other better. 
If what I do has pushed the other directors, as 
I push myself and try a little harder to experi- 
ment. I suppose there's my stamp. But I don't 
think either David or Kim needs me to show 

In addition to "Aubrey" and "Our Town," 
he points to "Sleepless," "End Game," "F. 
Emasculata" and "Dod Kalm" as his favorite 
episodes because "these stories are very 
compelling and personal. I thought that they 
were the best-executed." 

Recalling his introduction to The X-Files, 
Bowman explains that " 'GenderBender' was 
just an oddball show. That 
was at a time the series was 
still searching for its own 
identity. Chris just kind of 
let me do whatever I want- 
ed. We had a rewrite and 
we had a few meetings, but 
the show seemed slightly 
more free-form to me at 
that time. It's tighter and 
more focused and harder to 
do today." 

Bowman found more intriguing proposi- 
tions in his next episode, "Sleepless," which 
served to introduce two important characters: 
Mr. X (Steven Williams) and Agent Alex 
Krychek (Nicholas Lea). "It was an excellent 
script by Howard Gordon and well- 
acted," says Bowman. "Everybody has a nice 
role. The idea that the bad guy [Augustus 
Cole, played by Tony Todd] was more sym- 
pathetic, that you actually rooted for him, 
was great. You could see why he was killing 
his friend; it was more like mercy killing." 

In "Sleepless," Mulder learns of a killer 
who was the victim of top-secret military 
experiments into sleep eradication, providing 
him with deadly telepathic powers. "The guy 
hasn't slept for 24 years and he's in hell, and 
his friend has come to exorcise him of his 
demons. It wasn't just a good guy/bad guy 
scenario. It was a tough script to write, and 
well done. There was just something warm- 
ing about that one. I just have a good feeling 
about it." 

"End Game" brought Mr. 
X (Steven Williams) and 
Skinner (Mitch Pileggi) 
face-to-face. Bowman 
staged the 

STAKLOG/November 1995 77 

The X-Files has explored a number of 
atypical topics in the course of Mulder and 
Scully's investigations. But sticking needles 
in dolls? "I thought "Fresh Bones" was a clas- 
sic way of doing a voodoo story." Bowman 
grins. "It was a story where we didn't want to 
do any of the cliches of voodoo with bloody- 
chickens. That's a hat tip to Howard Gordon 
for his approach to scripts." 

Making Madness 

Running an "End Game," Agent Mulder 
meets up with a woman claiming to be his 

long-lost sister, Samantha (Megan Leitch), 
who has startling secrets to reveal. However, 
a shape-changing assassin stalks her. In a 
chilling confrontation. Fox is forced to trade 
Samantha for his partner Scully, who's being 
held hostage. 

" 'End Game' is classic mythology bec- 
ause it deals with Mulder in search of 
answers about his sister," recalls Bowman, 
"going up against extraordinary odds and 
finding the truth. I thought the production 
was extraordinary." 

The segment brought two recurring char- 
acters face-to-face at last: Mulder's boss, 
Skinner (Mitch Pileggi), and the enigmatic 
Mr. X. When Mulder disappears. Scully 
attempts to find him by guessing the method 
of contacting Mulder's shadowy liaison to 

Scully and Mulder (Gillian Anderson and David Duchovny) face their own mortality 
(and makeup woes) in Bowman's "Dod Kalm." 

get information. In a startling encounter in an 
elevator, X unexpectedly meets Skinner. 

Does Skinner recognize him? Bowman 
laughs and says, "Well, it's an assumption, at 
least on Skinner's part, that whoever's stand- 
ing there is X — who may or may not know 
Skinner. I would assume, because X seems to 
know quite a bit, that he may know Skinner 
as Mulder's liaison. X may not ever think 
about Skinner, but he may have seen a photo- 
graph and been told, 'This is the one Mulder 
goes to." 

"I believe that Skinner is aware of an 
inner-circle person who's helping Mulder, 
but again, who knows what these people 
know? They seem to disguise exactly what 
sort of information they have been given at 
every turn. Skinner is proven to be. if any- 
thing, on Mulder's side, although he doesn't 
always feel that way." 

It was for "End Game" that a full-size 
submarine conning tower was custom-built 
and planted on a soundstage at Vancouver's 
North Shore Studios to simulate Alaska's icy 
landscape. One hundred and fifty tons of real 
snow were shoveled in and the temperature 
lowered below freezing. 

"Dod Kalm" (Norwegian for "dead 
calm") is another Bowman favorite. A lost 
U.S. freighter is discovered in a Bermuda 
Triangle-tike area off the coast of Norway. 
The agents are brought in when it's discov- 
ered that all the passengers show signs of 
advanced aging after only drifting for several 
days. Bowman thought this "was a very stat- 
ic, internal, very intense Lifeboat kind of a 
storyline. There was a little bit of The Trea- 
sure of the Sierra Madre, where no one trusts 
each other. There was a touch of insanity 
striking a few of the characters. The produc- 
tion values were extraordinary. We painted 
the ship and shot all the night shots of the 
ship with tremendous smoke and lighting 

Near the season's end. there was "F. 
Emasculata," a biological terror tale guest- 
starrins Charles Martin Smith. Here, two 

prisoners escape from a penitentiary and the 
X-Files team is brought in. 

"For me, 'F. Emasculata' was the X-Files 
version of a good chase episode," Bowman 
continues. "I asked Chris earlier to see if he 
could come up with a very kinetic episode 
for me to direct. Generally, X-Files is made 
up of interesting discussions, of people talk- 
ing. He came up with 'F. Emasculata,' and I 
must say that was a script that seemed to 
come easily for Chris to write, and it came 
very easy for me to shoot." 

After working for almost a season with 
stars David Duchovny and Gillian Anderson, 

"There will be an 

X-F/7esfilm in the 


Bowman characterizes them as "two people 
who have come from relative obscurity and 
have become, or are becoming, cultural 
icons. The good thing is these are good peo- 
ple. They're not movie star personalities. 
They're fun to work with. They're always 
eager and willing to try things on the set. 

"You've seen the show; they do all kinds 
of crazy things. We used prosthetics for 'Dod 
Kalm' — we stuck them into five hours of 
makeup every day [to have Mulder and Scul- 
ly look advanced in age], and then made 
them work for 12 hours. We put them into 
very, very difficult situations. They have the 
right personalities for working on the show, 
which is so incredibly difficult to produce." 

If there's anyone responsible for Fox 
Mulder's dry deadpan humor, Bowman con- 
firms it is Duchovny. "He has the driest sense 
of humor you can imagine. The wonderfully 
dry sense of humor that Mulder has is direct- 
ly from David. Chris has it too, but we rely 
quite a bit on David to provide a great body 
of humor. I can't imagine the show without 

78 STARLOG/iVovem/w 1995 

Bowman has also fanned the X- 

fires by helming "GenderBender," 

"F. Emasculata," "Aubrey," "Our 

Town" and "Paper Clips." 

David Duchovny. I don't want to think about 
it. I don"t want to think about doing a scene 
with a male lead ii ills part who wasn 't 

David E u . 

Formulating Fear 

- _." r _.:-. -i even 

partner, friend and 

~ Anderson. 

yranst* I think, in her 

! . the quote right, 

o than Gillian." I 

I tend to believe Scul- 

. - r._l-:e her! She's 

case is Dan; 
skeptical fi 
own v. 

don't know aboat 
ly is as smart as 
gung-ho and she's as beautifuk if not more, 
in person rhanoacaaaa. I mean, the camera 
loves that face. Yoa can't get a bad shot of 
Gillian Anders* rhere's not more than 
ahandful of * >— er actors today that you can 
say that abets/" 

In additioB to a aroog regular cast. The X- 
Files has *«' ^J * a siaeup of guest stars in 
solid, jr.: hxmances. For his 

epise.. . .irking with 

Morgan Woodward. Tony Todd, Terry 
O'Quinn. John Sarase and Kevin Conway. 

"Oh boy one of those people..." 

murmurs Bonranan. o nice to see that 

the show has setts* the point where we 
can get thai caSber of acior. I enjoyed each 
one grr . aope das season we get to 

continue gesacE ie cafiber of actors that the 
show seems s? asset- - 

There bare bees (her possibilities. A 
guest sun: ■ . hak) McGavin 

hasn't wotted oat Reportedly. Invaders star 
Roy Thinoes caned Carter expressing admi- 
ration for Jl x, and suggested he play 
a role oidbers is also apparently 

Bowman i -in about such cast- 

ings, bui he doc " e.-~ J rumblings 

about Dane* u but I don't know 

where that - c: n would be a nos- 

talgic choice because Chris and I and many, 
many z t -re big fans. The 

,Y;h »as oenainly one of the big 

influe . - gararinrts for Tlie X-Files." 

Gratefol 1 Carter for hiring him. Bow- 
mar. : >" three years older 
than I am. wancfe scares the hell out of me! 
He's wildly ::ard-\vork- 
ing. He kat *hat he wants. He 

truly, deeply knows what the show is about. 
I've worked on other series where executive 
producers didn't know what their shows 
needed or what was best for the show, but I 
know I just feel a tremendous focus and clar- 
ity from Chris Carter. He makes me do better 
work because I'm just trying to keep up with 
him, with his dedication to the show and the 
attention to detail." 

Drama. No other SF-TV show except The 
Twilight Zone and Star Trek has earned such 
recognition. Bowman reports that he and 
everyone at the production offices are in a 
"blissful" state. "We're very happy to be 
acknowledged. We're all just beaming with 

Before he returns to a casting session for 
an upcoming episode that he's directing. 
Bowman leaves with a prediction, a wish and 
a promise. 

20th Century Fox recently announced 
their intention to bring The X-Files to the big 
screen. Of this, Bowman predicts, "There 
will be an X-Files film in the future. I don't 
think the X-Files feature will have to wait 
until the series is over. It's one of the few 
series that really lends itself to being spectac- 
ular for a motion picture. There are many 
things we can't do that we would like to do 
given the time and money. My only concern 
is whether I'll be part of it." 

As a not-too-subtle hint, Bowman is 
asked if he would like to helm such a pro- 
posed feature. "Of course I would!" he ex- 
claims. "I'm thinking every single day when 
I get up and come to work that I'm going to 
be the leading candidate if it kills me!'" he 

"We've proven that we can do the spook, the scare and the shock." 
Bowman declares. 

This dedication to the show by all those 
involved was recognized this spring with a 
Golden Globe award for Best Drama. "It was 
a dream," is all Bowman can say at first. "I 
certainly did not expect to win. I had my 
opinions of how we compared to the others 
nominated. But I didn't think that was a pop- 
ular opinion. I thought we were still a small 
cult series with a limited following, because 
our show challenges many of the ways things 
are taken for granted, that it was a forward- 
thinking concept that was welcomed by the 
foreign writers. It was a great thrill. It was the 
first time I've ever won an award for the craft 
that I do. It was a very memorable night." 

The X-Files was recognized this year with 
six Emmy nominations, including Best 

laughs. "But that'll be for Chris Carter to 

As he prepares to direct the season's sec- 
ond episode, "Paper Clips." he reveals that, 
"It's going to be a spectacular, incredibly 
tense episode and I hope a highlight for the 

To all the viewers of The X-Files. Rob 
Bowman promises that during this third sea- 
son. "The show will be more stirring and 
emotional. In general, we just want to have 
shows that are more personal and emotional. 
The fans seem to respond strongest to the 
mythology stories. We've proven that we can 
do the spook, the scare and the shock. Now, 
we would like to add more human dimension 
to it." -4* 

STARLOG/November J 995 79 


star trek: the next GENERATION Complete your collection! 

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Imagining the future has always been one of man's favorite pas- 
times. Gazing into that crystal ball and predicting, looking at 
things that are and pondering how they might be. It's the very 
stuff of science fiction. 

' And here's what's funny about it all: When you examine them in 
the cold light of today, yesterday's visions of tomorrow always look 
a little. ..well, quaint. 

Think back to the 1939 World's Fair. OK, well, I wasn't there 
either, but I've seen the documentary footage. I didn't get the sou- 
venir baseball beanie, but somewhere, I have a mini-trylon and peri- 
sphere (the fair's symbols) given to me by my grandmother. Even 

Art: Mike Fisher 

They're planning to remake Planet of the Apes — 
with 1990s values, ot course. For instance, in the 
final riveting scene, the Statue of Liberty will be 
replaced with the logo of whatever company pays 
the most money... ^__ _^. 

w /They DID IT!! They 
^^ You IDIOTS!... 

though at least one-quarter of 

mankind was already mixed in war 

and oppression (with most of the 

rest to shortly follow), just like 

other world fairs, that one imagined 

a prosperous, wonderful future for 

all of us. There were to be vast sys- 
tems of roadways, modern houses 

filled with labor-saving devices, 

television. So called benefits to 

humanity. All the stuff that didn't 

remotely come true, the dated. Art 

Deco vision of today, I've forgot- 

And the '64 World's Fair — well, 

I was alive and breathing but didn't 

make that one. I visited vicariously 

through the pages of the Gold 

Key/Dell comic book The Flint- 
stones at the NY World's Fair, and I 

did learn "It's a Small World" after 

all, on countless later Disney park odysseys. I still know all the 
words, too. (Just try and forget them). 

In occasionally looking at futures postulated by the popular sci- 
ence magazines of the last' few decades, my memories are far clear- 
er. I recall a suburbia with wide open garages on every split 
level— all the better for everyone to park their personal airplane. 
Cars were to be obsolete; wings, the thing. And what about the per- 
sonal robots that were to scurry around the house, attending to our 
every notion? They weren't part of the landscape when we all lived 
under the sea, in giant domes, farming the ocean. 

Of course, the'se futures haven't quite come true (yet). And nei- 
ther, fortunately, have countless others envisioned in science-faa 
periodicals and the literature and cinema of science fiction. I don't 
know about you, but given a chance to vote for my choice of tomor- 
row, I infinitely prefer our future to be Utopian (rather than dystopi- 
an, draconian. totalitarian, post-apocalyptic or Frisbee). But there is 
one thing I'm sure of, one thing I'm absolutely certain of when it 
comes to our real future: it won't be the one we expected. 

Look back. Just a decade. Sure, FedEx. FAX machines, VCRs. 
CDs. word processors and answering machines existed. (Hey, in 
1985. 1 was even ahead of the technological curve. I already 
didn't know how to program my VCR) All those labor-saving 
devices were around, but I can't say I ever dreamed of their 

omnipresence in my future, the today of reality, or how much I 
would rely on them (like a really nice crutch) every day. 

In some ways, some of these technologies have even supplanted 
one another. In 1985 or so, if I needed an article quickly, Steve 
Swires in Brooklyn might write it on his typewriter and quickly dic- 
tate it over the phone. By 1987 or so. Kim Howard Johnson might 
do it on his typewriter in Chicago and zap it off by FedEx. By 1990, 
Will Murray in Massachusetts would write it on his word processor 
and rapidly FAX it. Then, back to FedEx in 1991 as John Sayers in 
West Virginia would compose it on word processor and send a man- 
uscript and a computer disk containing the story by speedy priority 
delivery. Now, Marc Shapiro in California writes on his computer 
and instantaneously E-Mails us the story online. No FAX. No 
FedEx. No disk. It's amazing. 

Equally fascinating is how Senior Art Director Jim McLernon 
and his colleagues design the maga- 
zines. In 1975. it would have been with 
rubber cement and cardboard mechani- 
cals. In 1985, it was wax (definitely an 
improvement) and those familiar card- 
board mechanicals. And now? Well, just 
in the last two years, as we've eased 
into electronic publishing, we've gone 
from merely designing headlines and 
some individual pages on the computer 
(and then transferring them to the lov- 
able cardboard mechanicals to send out 
for separation).. .to laying out whole sto- 
ries (and then transferring them to card- 
board to go out to the separator). . .to 
doing the whole magazine on computer, 
downloading it onto SyQuest disk (for- 
get the cardboard mechanicals) and cre- 
ating the film for use in printing that 
way. They tell me the next step is to 
deep six the film and do digital print- 
ing just layout the magazine on computer, finalize it all and press 

a button sending the whole magazine by phone or fiber-optic line to 
the printer (in Nebraska) where it will magically, electronically etch 
itself onto paper during printing. It's a brave new world. 

And as part of the new wonders in it, STARLOG. COMICS 
SCENE and FANGORIA are venturing online on the Microsoft 
Network. STARLOG/CS Managing Editors Marc Bernardin and 
Mike Stewart are spearheading this effort to bring the magazines 
into the 21st century, they're acting as online gurus while FANGO- 
RIA editors Tony Timpone and Michael Gingold and I watch the 
masic happen. Marc and Mike are translating the magazines, keep- 
ing what works electronically, deleting w^hat doesn't, adding new 
elements. The end result will, I know, surprise me and, I think, 
startle them as well. 

If you're online and care to be part of it, visit STARLOG, 
COMICS SCENE and FANGORIA there via the Microsoft Network 
(included in Microsoft's Windows 95). The regular magazines on 
familiar paper will, of course, continue. 

What does all this mean for the future of STARLOG? And for 
the future of magazines and the printed word in general? 

Well, today, f just can't imagine. But I'm sure that tomorrow, 
we'll all know what to expect. 

—David McDonnell/Editor (August 1995) 

The STARLOG Line-Up on sale now: THE OFFICIAL SPECIES MOVIE MAGAZINE takes readers behind the scenes of Roger 
JoLSs^cMFXe'xLaganza.STARLOG SCIENCE *™OX ^™»^^*^*^^ 
Brandis, Nicole Kidman, Natasha Henstridge. Rob Youngblood and more. . .THE OFFICIAL MORTAL KOMBAT MOVIE MA^A 

7TNF showcases that videogame motion picture fantasy epic. 

StIr TREK VOYAGER #4 confers with the series' composers (Jay Chattaway & Dennis McCarthy) as well as saga co-creator 
Michael Pi ler STARLOG PRESENTS #1: EERIE TV collects most of STARLOG's articles on The X-Files (including anew talk 
wS XfZ Creator Chris Carter). The Outer Limits and The Twilight Zone.. .FANGORIA #147 spotlights Halloween: The Curse of 
Michael Mvers Hellraiser: Bloodline's Doug Bradley and the newest entry in eerie TV, American Gothic. <( 

COMICS SCENE #53 features the art of Moebius and Mickey's "Runaway Brain," while answering a dramatic question. Are 
Comics Dvine?" ST4R TREK: DEEP SPACE NINE #13 (on sale October 12) returns with more fourth-season excitement as 
LouTe Fletcher discustes her contribution to the space station adventure. . .look for STARLOG #221 at newsstands and magazine outlets 
November 2. 

82 STARLOG/November 1995 

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The new STAR TREK television series chron- 
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which finds itself in a distant part of the 
galaxy along with a former enemy, the 
Maquis, Together, they must find the way 
back to Federation space. 

Starring Kate Mulgrew as Captain Kathryn 
Janeway of the U.S.S: Voyager. 

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